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p. 10, b. 166-187
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p. 13, b. 233-250
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p. 15, b. 275-295
p. 16, b. 296-314
p. 17, b. 315-335
p. 18, b. 336-348
GE1 - First German edition
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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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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copy link PDF GE1 - First German edition


  b. 171

E (no ) in A (→GEFE)

E in EE1 (→EE2)

E with  in EE3

The missing accidental before the antepenultimate semiquaver contributes to a certain obscurity concerning Chopin's intention. Although the official rule of validity of accidentals was the same as today, he would often use them as valid not only at their absolute pitch, but also in other octaves. However, in this case E is much more likely than E, hence in the main text we add a cautionary . The legitimacy of this decision is confirmed by the cautionary  before A, added in an analogous situation in the recapitulation, bar 321. EE1 (→EE2) added a  here, changed in EE3 to a .

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources

issues: EE revisions, Accidentals in different octaves

notation: Pitch

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