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p. 1, b. 1-19
p. 1, b. 1-19
p. 2, b. 20-46
p. 3, b. 47-67
p. 4, b. 68-89
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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 - Jędrzejewicz 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 - Jędrzejewicz 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. 7

Quaver a in A (→FCGE, →FEEE1)

Crotchet in EE2

Following in the footsteps of the reviser of EE2, in the main text we suggest adding an additional crotchet stem next to a in the 2nd half of the bar after analogous b. 3. In further analogous bars (b. 22 and 78) respective extensions are not to be found any more in A (both in the 1st and the 2nd halves of the bar). Marking the first appearance of a given phrase in a more accurate manner was Chopin's frequent practice, hence the absence of those stems does not have to be considered an oversight. However, in the case of such single details, yet important for the sonic atmosphere, recurring at significant intervals, we consider it right to add the omitted elements of notation.

Compare the passage in the sources »

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

notation: Rhythm

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