Page: 
Source: 
p. 12, b. 181-204
p. 1, b. 1-22
p. 2, b. 23-49
p. 3, b. 50-76
p. 4, b. 77-92
p. 5, b. 93-104
p. 6, b. 105-114
p. 7, b. 115-124
p. 8, b. 125-140
p. 9, b. 141-153
p. 10, b. 154-168
p. 11, b. 169-180
p. 12, b. 181-204
p. 13, b. 205-219
p. 14, b. 220-230
p. 15, b. 231-240
p. 16, b. 241-250
p. 17, b. 251-267
p. 18, b. 268-286
p. 19, b. 287-298
p. 20, b. 299-313
p. 21, b. 314-327
p. 22, b. 328-348
A - Autograph of the piano part
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
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Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
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Notation
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Pitch
Rhythm
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Articulation, Accents, Hairpins
Verbal indications
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Differences
No differences
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
Importance
All
Important
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copy link PDF A - Autograph of the piano part


  b. 181

 from 1st quaver in A (literal reading)

 from 2nd quaver in A (contextual interpretation) & GE2

No indication in GE1 (→FEEE)

In A  is written in such a way that it is unclear whether it is to be valid from the first or 2nd quaver in the bar. Both versions can be justified, as far as music is concerned:

  • in the orchestra part – Morch –  is certainly valid from the beginning of the bar, hence it seems to be natural that it is to be placed in the same way in A;
  • the first quaver in this bar belongs still to the solo part and it has to be performed  as such; the piano reduction of the orchestra part begins only from the 2nd quaver and  is to be applied from this place.

According to us, the second reasoning is more convincing. The absence of  in GE1 (→FEEE) is probably an oversight, since the adjacent accent was overlooked too.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Errors in GE, GE revisions

notation: Verbal indications

Missing markers on sources: GE1, A, GE1a, Morch, GE2, FE1, FE2, FES, FED, FEJ, EE1, EE2, EE3