Morch
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. 511-514

No markings in A

 in GE

 in FE (→EE)

 suggested by the editors

It is uncertain how the version of GE came to life, yet it is difficult to imagine that it could have come from Chopin in this form. This version was probably based on the conviction that the dynamics of the last chords has to be indicated in the piano part, too, which eventually led to the repetition of the markings written in Morch, not by Chopin. The completion of the piano part could have been ordered by the reviser, although one cannot exclude that the action could have been inspired by Chopin. In the second case, the composer probably had one  in mind, which the overzealous engraver, inspired by the notation of Morch, repeated three more times. This scenario seems to be confirmed by a Chopinesque proofreading of FE (→EE), in which two out of four  markings were removed. According to us, the second mark (in bar 512) was left by inadvertence or in order to avoid excessive corrections in the corner of the plate, hence in the main text we suggest a  only in bar 511. 

Compare the passage in the sources »

category imprint: Differences between sources

issues: GE revisions, Authentic corrections of FE

notation: Verbal indications

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