GE1
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. 190

in A (→GE)

No marking in FE (→EE)

Changes of dynamic indications in bars 190-197, appearing in FE with respect to GE1, are difficult to be ascribed to the engraver's distraction only:

  •  in bar 190,  in bar 192 and  in bar 195 were overlooked;
  • in bars 194-196 dashes marking the range of cresc. from bar 193 were added;
  •  was changed to  in bar 197.

Marking the range of crescendo with dashes must be considered a Chopin proofreading, hence it proves that the composer accepted all dynamic indications in FE at least in bars 193-197, even if some of the omissions of signs were a result of the engravers' distraction. According to us, it is also possible that the composer checked the dynamics in previous bars 190-192 and no dynamic changes after  in bar 189 did not raise his concerns. It is even more likely, since the dynamic sequence indicated in FE is coherent and – not excluding nuances resulting from the mutual relationship between motifs and phrases – it fits well into the logical dynamic scheme of the entire Tutti (forte in bars 181-188, piano in bars 188-193, crescendo in bars 193-196, fortissimo in bars 197-198 and piano in bars 199-205). Due to this reason, in the entire fragment we give the version of FE in the main text.

Compare the passage in the sources »

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

notation: Verbal indications

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