Page: 
Source: 
p. 1, b. 1-22
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
Interpretations within context
Differences between sources
Editorial revisions
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Source & stylistic information
Notation
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
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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Important
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  b. 14-15

FE (→GE)

EE

Our suggestion

The con forza indication must apply to the R.H., since the L.H. dynamics was defined already in bar 13. The fact that it was placed between the staves could have been forced by extra-musical issues – in FE, there is simply no space above the R.H. part. If the indication was present in [A] above the R.H., Chopin did not have to take care of its precise placement. Due to this reason, in the main text we place the indication above the beginning of the phrase it applies to.

Compare the passage in the sources »

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE, EE inaccuracies

notation: Verbal indications

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