Page: 
Source: 
p. 3, b. 1-28
p. 1
p. 2
p. 3, b. 1-28
p. 4, b. 29-54
p. 5, b. 55-85
p. 6, b. 86-111
p. 7, b. 112-138
p. 8
Atut - Autograph of first Tutti
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
Select notes: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
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
Importance
All
Important
Main
Prezentacja
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copy link PDF Atut - Autograph of first Tutti

Original in: Österreichische Nationalbibliothek, Vienna


  b. 1

 in Atut, literal reading

 in Atut, possible interpretation

 in Atut (other interpretation→FEGE,EE)

The manner the  mark is written in Atut makes it unclear whether the mark concerns the beginning of the piece or the beginning of bar 1, like it was interpreted in FE (→GE,EE). In the main text we adopt the second interpretation, since according to the most frequently applied rule, the marks are written in the place from which they are valid or slightly earlier. A dynamic mark after the bar line separating the upbeat can be found in Chopinesque autographs – cf. e.g. the Etude in A minor, op. 25, no. 4.

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category imprint: Graphic ambiguousness; Differences between sources

issues: Centrally placed marks

notation: Verbal indications

Missing markers on sources: GE2, FE1, FED, FEH, FEJ, FES, GE3, EE1, EE2, EE3, GE2a, FEFo