Page: 
Source: 
p. 3, b. 39-56
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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Graphic ambiguousness
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
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No differences
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. 50

b-b1 in the sources (literal reading)

b-b1 (possible interpretation)

Our variant suggestion

A number of editors of later collective editions considers the absence of the flats restoring b(1) at the end of the bar to be an oversight of Chopin, which, of course, cannot be excluded. An argument for an oversight could be a vast majority of minor seconds in the motivic structure of the Finale, particularly in similar figures (bars 5, 7, 16, 24-26, 28-30, 35-38, 43, 45, 50, 51-56, 60), which is, however, difficult to be considered to be conclusive. In the main text we suggest a variant solution.

See b. 22

Compare the passage in the sources»

category imprint: Interpretations within context; Editorial revisions

issues: Omissions to cancel alteration, Errors of A

notation: Pitch

Missing markers on sources: FESch, FES, Afin