Page: 
Source: 
p. 9, b. 140-159
p. 1, b. 1-17
p. 2, b. 18-33
p. 3, b. 34-52
p. 4, b. 53-68
p. 5, b. 69-88
p. 6, b. 89-108
p. 7, b. 109-124
p. 8, b. 125-139
p. 9, b. 140-159
p. 10, b. 160-175
Main text
Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz Copy
FED - Dubois Copy
FES - Stirling Copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Revised impression of GE3
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
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Graphic ambiguousness
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Articulation, Accents, Hairpins
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz Copy
FED - Dubois Copy
FES - Stirling Copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Revised impression of GE3
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
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  b. 153

A, literal reading

A (contextual interpretation) & GE

FE (→EE), contextual interpretation

In A we mark this bar in an abbreviated manner as repetition of bar 49, written with a mistake – see the commentary to this bar. The version of FE (→EE), in which the chords omitted at the end of the bar were – certainly ordered by Chopin – completed, includes another mistake in the form of superfluous G notes. As a result, the correct text of the 2nd half of the bar, resulting from the interpretation of A confirmed by Chopin proofreading of FE in bar 49, appears explicite only in GE.

The sources differ in the notation of the rest embracing the 4th and 5th quavers of the bar, which we do not include in the given variants. In the main text, we give the notation used by Chopin on a number of occasions in A (bars 1, 3 and 5). 

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category imprint: Interpretations within context; Differences between sources

issues: EE revisions, Errors in FE, GE revisions

notation: Pitch

Missing markers on sources: EE1, EE2