FC
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
compare
  b. 1

e1 in A (→FCGE1, →FEEE)

g1 in GE2 (→GE3)

The change of the 3rd quaver of the bar from e1 to g1, introduced in GE2 (→GE3), most probably originated from analogous b. 9, in which g1 is present in all sources. There is no question that g1 is more natural here from the pianistic point of view as well as more logical in terms of the structure of figurations. Therefore, did Chopin actually commit a Terzverschreibung mistake right at the beginning of a piece? An important argument against that hypothesis is a similar differentiation between b. 1 and 9 in the Etude in E Major, Op. 10 No. 11 (in the Etude, the notation rules out a mistake, since it would have had to encompass 5 chords). In both cases, it was a combination with the preceding figure (in b. 8-9) or its absence (in b. 1) that could have been the reason for the differentiation. Taking into account the above, in the main text we leave the version of A. A similar situation can be found in b. 33.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Terzverschreibung error, GE revisions

notation: Pitch

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