Page: 
Source: 
p. 8, b. 161-192
p. 1, b. 1-24
p. 2, b. 25-48
p. 3, b. 49-72
p. 4, b. 73-92
p. 5, b. 93-120
p. 6, b. 121-140
p. 7, b. 141-160
p. 8, b. 161-192
p. 9, b. 193-214
p. 10, b. 215-241
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GC - Gutmann's Copy
FE - French edition
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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 reprint 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
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FE3 - Third impression of FE
FE4 - Fourth impression of FE
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FES - Stirling copy
FED - Dubois copy
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  b. 189-192

No marks in GC (→GE)

Two staccato dots in FE (→EE)

Four dots suggested by the editors

The staccato dots, present only in the 2nd and 4th bars of this four-bar section, is probably a result of an inaccuracy of Chopin or of the engraver. In the analogous phrase of the exposition (bars 61-64), the articulation is marked much more accurately, so it seems that Chopin wanted to mark all bass notes in the same manner. According to us, the presence of dots in FE (→EE) in bars 190 and 192 indicate that Chopin imagined all bass notes in the recapitulation to be performed staccato too.

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GC

notation: Articulation, Accents, Hairpins

Missing markers on sources: FESch, FED, FES