Page: 
Source: 
p. 3, b. 26-42
p. 1, b. 1-8
p. 2, b. 9-25
p. 3, b. 26-42
p. 4, b. 43-58
p. 5, b. 59-77
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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. 42

g in A (→FC,FEEE)

e in GE, contextual interpretation

In GE the 3rd semiquaver in the 2nd half of the bar is an e note, which is a patent mistake in itself; however, if we take into account a possibly overlooked , it constitutes a harmonically plausible version in which we could even see subtlety, so typical of Chopin, since the g seventh is exposed in the R.H. part. Nevertheless, nothing suggests that Chopin could have participated in the development of GE, hence the authenticity of this version cannot be confirmed.

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE, Terzverschreibung error, Omission of current key accidentals

notation: Pitch

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