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p. 3, b. 29-53
p. 1, b. 1-13
p. 2, b. 14-28
p. 3, b. 29-53
p. 4, b. 54-78
p. 5, b. 79-103
p. 6, b. 104-119
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GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Corrected reprint of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE1a - Another copy of #GE1
GE2 - Second German edition
GE3 - Revised impression of GE2
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EE1 - First English edition
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EE3 - Revised impression of EE2
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  b. 32

Octave in GC (→GE), FE & EE3

b1 alone in EE1 (→EE2)

The authenticity of the version of EE cannot be excluded, yet, according to us, a mistake is more likely here, e.g., due to the similarity of the 2nd half of the bar to bar 34. Chopin resigned from striking in similar places only when the note was being performed by the L.H. (bars 34, 42 and analog.) or when the 1st finger of the R.H. remained on the d1 crotchet ending the phrase of the middle voice of the R.H. (bars 60 and 80). The preserved in EE 4th finger over this quaver also provides an argument for a mistake – a single b1 note is easier to be performed with the 2nd finger. 

Compare the passage in the sources »

category imprint: Differences between sources

issues: Errors in EE

notation: Pitch

Missing markers on sources: GC, FE1, FE2, FED, FEJ, FES, GE1, GE1a, GE2, GE3, EE1, EE2, EE3