Page: 
Source: 
p. 14, b. 220-230
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
Main text
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
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Pitch
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Articulation, Accents, Hairpins
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Differences
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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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  b. 220

c1-d1 in A (→GE1FE), literal reading

c1-d1 in EE

c1-d1 in FED

d1-d1 in GE2

c1-d1 in A, probable interpretation

The harmonically vague and sonically awkward version of A (→GE1FE) raised doubts already in EE and GE2, in which the penultimate quaver was changed – by analogy to bar 218 – to c1 (EE) or d1 (GE2). However, it is uncertain whether Chopin meant a strict analogy here, since he did not preserve such an analogy in the part of the R.H. This supposition is confirmed by a correction introduced in FED and this is the version, performed during lessons with Chopin, that we give in the main text. According to us, there is also another possible interpretation of the notation of A, assuming the occurrence of the most frequent Chopin mistakes – an oversight of cancellation of an accidental placed earlier. It leads to the last of the given versions, in which the last two quavers are c1-d1.  

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category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies, EE revisions, Annotations in FED, Omissions to cancel alteration, GE revisions, Errors of A, Accidental below/above the note

notation: Pitch

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