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p. 7, b. 143-158
p. 1, b. 1-27
p. 2, b. 28-60
p. 3, b. 61-87
p. 4, b. 88-105
p. 5, b. 106-124
p. 6, b. 125-142
p. 7, b. 143-158
p. 8, b. 159-173
p. 9, b. 174-188
p. 10, b. 189-206
p. 11, b. 207-225
p. 12, b. 226-243
p. 13, b. 244-260
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FE1 - First French edition
FEO - Orda copy
FES - Stirling copy
FESf - Schiffmacher copy
GE - German edition
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EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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FE - French edition
FE1 - First French edition
FEO - Orda copy
FES - Stirling copy
FESf - Schiffmacher copy
GE - German edition
GE1 - First German edition
EE - English edition
EE1 - First English edition
EE2 - Corrected reprint of EE1
EE3 - Revised impression of EE2
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  b. 146

 

a2 in GE & EE3

It is unclear how the difference between the variants of FE (→EE1EE2) and GE occurred – there are no visible traces of corrections in both sources. Due to stylistic reasons, a possibility that Chopin replaced bpresent in FE with a2 seems to be less likely. The introduction of amitigates – in the climax of the progression – both the melodic tension (fifth instead of sixth) and harmonic one (abandonment of dissonance). In turn, the reviser of EE3 undoubtedly wanted to change the note to a2, yet the engraver overlooked the  raising a2

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: EE revisions

notation: Pitch

Missing markers on sources: FE1, FEO, FES, FESf, GE1, EE1, EE2, EE3