Page: 
Source: 
p. 5, b. 76-94
p. 1, b. 1-22
p. 2, b. 23-36
p. 3, b. 37-51
p. 4, b. 52-75
p. 5, b. 76-94
p. 6, b. 95-111
p. 7, b. 112-133
p. 8, b. 134-158
p. 9, b. 159-181
p. 10, b. 182-209
p. 11, b. 210-230
p. 12, b. 231-247
p. 13, b. 248-263
p. 14, b. 264-285
p. 15, b. 286-309
p. 16, b. 310-333
p. 17, b. 334-359
p. 18, b. 360-379
p. 19, b. 380-399
p. 20, b. 400-419
p. 21, b. 420-443
p. 22, b. 444-468
Main text
Main text
FE - French edition
FE1 - First French edition
FEJ - Jędrzejewicz copy
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE2
EE3 - Revised impression of EE2
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Graphic ambiguousness
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Articulation, Accents, Hairpins
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FE - French edition
FE1 - First French edition
FEJ - Jędrzejewicz copy
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE2
EE3 - Revised impression of EE2
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  b. 93

c1 in FE (→EE), contextual interpretation

No c1, editors' suggestion

A comparison with analogous bars 95, 245 and 247 suggests that c1 in the chord at the beginning of bar 93 resulted from a misunderstanding in the interpretation of [A]. (NB. in FE and EE the note, when interpreted literally, would be a c1, which, due to harmonic reasons, is out of the question.) The version of GE is most probably an attempt at eliminating the falsely sounding note at the expense of a questionable interpretation of the curved line that encompasses the sequence of bass in bars 92-93 in FE as a tie of c1 – see the previous note). Taking into account the above, we omit this note in the main text.

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category imprint: Editorial revisions

issues: Errors in FE

notation: Pitch

Missing markers on sources: FE1, FEJ, GE1, GE2, EE1, EE2, EE3