GE2
Main text
Atut - Autograph of first Tutti
FE - French edition
FE1 - First French edition
FED - Dubois copy
FEFo - Forest copy
FEH - Hartmann copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE1
GE2a - Altered impression of GE2
GE3 - Second German edition
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE2
EE3 - Revised impression of EE2
compare
  b. 144-152

No marks in FE (→EE,GE1GE2)

Accents in GE3

The accents in bars 144 and 152 added in GE3, seemingly justified by the homogeneous structure of the figurations, do not have to correspond to Chopin's intention. Admittedly, indications serving as a model, which is valid by default in an entire similarly structured section, are a frequent phenomenon in Chopin's pieces (cf. e.g. pedalling in bars 187-193 as well as accents in the Etude in C major, op. 10, no. 1 or slurs in the L.H. in the Nocturne in D major, op. 27, no. 1), yet in this context – descending sequences, ending with motifs of a more lyrical character ( rather does not apply to the end of the phrase in bar 146 if Chopin repeated it in bar 147) – omission of a few final marks may as well contain a suggestion to mitigate the virtuoso energy. Even the fact that for the first time two, and for the second, three accents are "missing" may be interpreted as an indication for a more pronounced diminuendo for the second time, which combines well with the course of harmonic tensions.   

Compare the passage in the sources »

category imprint: Differences between sources

issues: GE revisions

notation: Articulation, Accents, Hairpins

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Original in: University of Chicago Library, Special Collections Research Center