Page: 
Source: 
p. 5, b. 130-160
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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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. 158

 on 2nd beat in GC (→GE)

 on 1st beat in FE (→EE)

It is hard to state which of the sources guessed the sense of the notation of [A] more accurately. It is highly likely that even seeing the autograph, we would not be sure how to assign the  sign, as in the case of the lower placed notes, Chopin would often put these signs before the note and not under it, which sometimes resulted in ambiguities. In the discussed bar, both pedalling versions are possible; to the main text we adopt the less schematic version. The absence of  in GC is a patent oversight.
Similarly in bar 159.

Compare the passage in the sources»

category imprint: Differences between sources

issues:

notation: Pedalling

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