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p. 8, b. 104-113
p. 1, b. 1-24
p. 2, b. 25-39
p. 3, b. 40-50
p. 4, b. 51-62
p. 5, b. 63-77
p. 6, b. 78-91
p. 7, b. 92-103
p. 8, b. 104-113
p. 9, b. 114-126
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FED - First French edition
FEFo - Forest copy
FEH - Hartmann copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
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GE2 - Corrected impression of GE1
GE2a - Altered impression of GE2
GE3 - Second German edition
EE - English edition
EE1 - First English edition
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EE3 - Revised impression of EE2
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FE - French edition
FE1 - First French edition
FED - First French edition
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
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EE1 - First English edition
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EE3 - Revised impression of EE2
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  b. 111

No pedal change in sources

Pedalling suggested by the editors

In the main text, we suggest changing pedal on the 4th beat of the bar due to the change of the bass note in the orchestral part (cellos and double-basses) from B to B. A minor harmonic blending did not have to be conspicuous on the pianos from Chopin's times. It also cannot be excluded that, while adding the pedalling, the composer did not coordinate the piano part with the orchestral part, particularly since this chromatic sequence in the bass does not appear on the first two occurrences of the theme (bars 19 and 60).

Compare the passage in the sources»

category imprint: Editorial revisions

issues:

notation: Pedalling

Missing markers on sources: FE1, FES, FED, FEJ, FEH, GE1, GE2, GE3, EE3, EE1, EE2, FEFo, GE2a