A
Main text
½A - Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE - German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
compare
  b. 165-168

c2 & c2 in A (→GE)

d2 & b1 in FE (→EE)

The version of FE (→EE), fully analogous with the corresponding fragment of the recapitulation (bars 315-318), is certainly authentic and was introduced by Chopin in the proofreading of FE1. Both versions seem to be musically equal:

  • the scheme of the melodic line, created by the accented notes of the top voice, is more diverse among the two-bar phrases in the original version than in the later one (small notes illustrate the bass's sequence):
    A, GE   
    FE, EE 
  • the advantages of the later version include the enriched first phrase (a suspension in the 2nd half of bar 165) and a more harmonic development – the suspension, used as a diversification at the repetition, appears already in the first phrase.

Chopin could have also taken into account homogeneity and consequently pianistic convenience. Following the proofreading, the number of differences between the subsequent two-bar phrases (in bars 165-166, 167-168, 315-316 and 317-318) was significantly reduced – in the original version, each of them is different, and the differences appear at the beginning of the first three halves of bars; in the final version, there are only two versions, differing only in the beginning of the first bar.

Compare the passage in the sources »

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

notation: Pitch

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Original in: Biblioteka Narodowa, Warszawa