Page: 
Source: 
p. 2, b. 19-38
p. 1, b. 1-18
p. 2, b. 19-38
p. 3, b. 39-56
p. 4, b. 57-75
Main text
Main text
GC - Gutmann's Copy
Afin - Autograph fragment of Finale
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
FE5 - Second French edition
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
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GC - Gutmann's Copy
Afin - Autograph fragment of Finale
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
FE5 - Second French edition
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
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  b. 22

E-e in the sources (literal reading)

E-e (possible interpretation)

Our variant suggestion

After the modulating progressions of the previous bars, bars 21-22 lead – via the ninth dominant chord (A)-c-e-g-b – to the D major key, in which bars 23-30 are maintained. In this context, at the end of bar 22, d-e-f sounds much more natural than d-e-f. Therefore, apart from the version of the sources with E-e on the penultimate quaver, we suggest an alternative version with E-e

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category imprint: Interpretations within context; Editorial revisions

issues: Omissions to cancel alteration

notation: Pitch

Missing markers on sources: FESch, FES, FED, Afin