Page: 
Source: 
p. 4, b. 57-75
p. 1, b. 1-18
p. 2, b. 19-38
p. 3, b. 39-56
p. 4, b. 57-75
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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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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. 63

A-a in GC (→GE) & FE (contextual interpretation)

A-a in EE

Our variant suggestion

Before the 8th quaver in GC (→GE) and FE there are no accidentals: either a  restoring A or a  raising a to a. The first possibility – oversight of the cancellation of the sign – seems to be more likely than an oversight of an alteration (Chopin did not forget to, e.g., write flats before c and c1 on the 10th quaver). EE includes naturals here, which in this situation do not have to, however, come from Chopin, as the incompatibility of the parts of both hands required an editorial intervention, even if Chopin did not pay attention to it (the absence of a respective intervention in GE is surprising).

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources

issues: EE revisions

notation: Pitch

Missing markers on sources: FESch, FES, FED, GE1, GE2, FE5, Afin