Page: 
Source: 
p. 4, b. 68-82
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
Main text
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
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Graphic ambiguousness
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Articulation, Accents, Hairpins
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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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  b. 69

Three-note chord in A (→EE,GCGE)

Octave in FE

The octave in FE is most probably a result of an oversight of the engraver of FE1, although the missing completion of the middle note in later proofreadings may be perplexing. It is even more puzzling considering the fact that both in FE2 and in FE3 corrections were made in this bar and on this stave – in FE2 it was the octave sign that was corrected, while FE3 added flats lowering e2(3) to e2(3) and a3 to a3. In spite of that, the most plausible explanation of the missing middle note in this octave is, according to us, an error, and sanctioning it supplements in FE3 constitute a strong argument for at least partial non-authenticity of the changes introduced in this edition.

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: EE revisions, Errors in FE, GE revisions, FE revisions

notation: Pitch

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