Page: 
Source: 
p. 7, b. 194-224
p. 1, b. 1-30
p. 2, b. 31-58
p. 3, b. 59-94
p. 4, b. 95-129
p. 5, b. 130-160
p. 6, b. 161-193
p. 7, b. 194-224
p. 8, b. 225-252
p. 9, b. 253-287
Main text
Main text
GC - Gutmann's Copy
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
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
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Articulation, Accents, Hairpins
Verbal indications
Pedalling
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Differences
No differences
GC - Gutmann's Copy
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
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. 210-213

No marks in the sources

Staccato & accents suggested by the editors

In the main text we suggest adding the staccato signs and accents on the basis of respective bars of the initial section of Scherzo (bars 22-25). The abbreviated notation of the recapitulation in [A] (→GC) proves that Chopin wanted that the notation of both extreme sections was identical.

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category imprint: Editorial revisions

issues:

notation: Articulation, Accents, Hairpins

Missing markers on sources: FE1, FE2, FES, FED, FESch, FE3, FE4, GE1, GE2, EE1, EE2