Page: 
Source: 
p. 5, b. 83-111
p. 1, b. 1-30
p. 2, b. 31-52
p. 3, b. 53-67
p. 4, b. 68-82
p. 5, b. 83-111
p. 6, b. 112-140
p. 7, b. 141-155
p. 8, b. 156-171
p. 9, b. 172-186
p. 10, b. 187-204
GC - Gutmann's copy
Main text
A - Autograph
GC - Gutmann's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FE3 - Corrected impression of FE2
FEJ - Jędrzejewicz copy
FED - Dubois copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
Select notes: 
Category
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Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
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Source & stylistic information
Notation
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
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Differences
No differences
A - Autograph
GC - Gutmann's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FE3 - Corrected impression of FE2
FEJ - Jędrzejewicz copy
FED - Dubois copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
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Important
Main
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copy link PDF GC - Gutmann's copy


  b. 111

 in A (→EE,GCGE)

No marking in FE

The  marking extends in A from the last quaver in bar 111 to the first chord in bar 112, so that FE put it only in bar 112. In the editors opinion, it is GC (→GE) and EE who conveyed Chopin's intention correctly – if he had wanted the marking to apply only from bar 112, there would have been no reason to start writing so much earlier in the previous bar. See also bar 136.

Compare the passage in the sources»

category imprint: Graphic ambiguousness; Differences between sources

issues: Centrally placed marks

notation: Verbal indications

Missing markers on sources: A, GC, FE1, FE2, FE3, FEJ, FED, FES, EE1, GE1, GE2, GE3