Page: 
Source: 
p. 4, b. 34-46
p. 1, b. 1-11
p. 2, b. 12-21
p. 3, b. 22-33
p. 4, b. 34-46
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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 - 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. 45-46

 in A (literal reading→FE1)

 in A (contextual interpretation→FE2EE)

No marking in FC (→GE)

The  mark is placed in A between the pair of the final chords, hence the fact that FE1 assigned it to b. 46 is formally justified – markings are not retroactive. However, it seems much more likely that Chopin applied here the manner of writing indications within the scope of their range, and the mark is supposed to concern both chords, as it was performed in FE2 (→EE). Cf., e.g. the Concerto in E Minor, Op. 11, 1st mov., b. 16.  

Compare the passage in the sources »

category imprint: Differences between sources

issues: Inaccuracies in FE, FE revisions, Errors of FC, Centrally placed marks

notation: Verbal indications

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