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Source: 
p. 1, b. 1-34
p. 1, b. 1-34
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Main text
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewiczowa's Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewiczowa's Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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  b. 18-26

Quintuplets in A (→FCGE1, →FEEE)

Triplets in GE2 (→GE3)

One can only guess what the motivation of the reviser of GE2 was at the time of arbitrarily changing the R.H. rhythm in all bars in which Chopin wrote quintuplets (b. 18-20, 23 and 25-26). After all, there are no doubts that the change, introduced many years after Chopin's death, does not come from the composer.

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category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A, GE revisions, Deletions in A

notation: Rhythm

Missing markers on sources: A, FC, FE1, FE2, FEJ, FED, FES, FESch, GE1, GE2, GE3, EE1a, EE2, EE1