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p. 2, b. 11-21
p. 1, b. 1-10
p. 2, b. 11-21
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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. 12

Semiquavers in A (→FC,FEEE1)

Demisemiquavers in GE & EE2

Formally speaking, the version of GE is justified here; however, it is highly likely that Chopin wrote this group in semiquavers (like all the others) because he did not want to unnecessarily suggest a significant acceleration of movement. Such a notation is to be found in his pieces on a number of occasions – cf., e.g. the Prelude in D major no. 15, b. 4 and 79.

Compare the passage in the sources »

category imprint: Differences between sources

issues: GE revisions

notation: Rhythm

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