Page: 
Source: 
p. 2, b. 28-57
p. 1, b. 1-27
p. 2, b. 28-57
p. 3, b. 58-87
p. 4, b. 88-117
p. 5, b. 118-147
p. 6, b. 148-178
p. 7, b. 179-208
p. 8, b. 209-239
p. 9, b. 240-270
IE - First Italian edition
Main text
A - Autograph
FC3 - Third Fontana's Copy
FE - French Edition
FE1 - First French edition
FED - Dubois copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - First English edition
IE - First Italian edition
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
A - Autograph
FC3 - Third Fontana's Copy
FE - French Edition
FE1 - First French edition
FED - Dubois copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - First English edition
IE - First Italian edition
Importance
All
Important
Main
Prezentacja
Select 
copy link PDF IE - First Italian edition


  b. 51

AGE

FC3 (→FEIE), EE

In FC3 (→FEIE) and EE# there is an a-a octave in the second half of the bar. In A, instead of bars  36-50 the repetition of bars 20-34 is marked and bars 35 and 51 concluding the phrase are notated one after another as 1a and 2a volta. In b. 35 there is an a-a octave, in b. 51 only single   a, which may well be related to a distinct shape of the beginning of next phrases - forte octave in b. 36 and piano figuration in b. 52. While writing FC3, the copyist must have mistakenly rewritten twice (bars 35 and 51) the version Chopin intended for b. 35. GE is in compliance with A.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Errors of FC

notation: Pitch