Page: 
Source: 
p. 7, b. 98-112
p. 1, b. 1-16
p. 2, b. 17-34
p. 3, b. 35-48
p. 4, b. 49-64
p. 5, b. 65-82
p. 6, b. 83-97
p. 7, b. 98-112
p. 8, b. 113-126
p. 9, b. 127-157
p. 10, b. 158-185
p. 11, b. 186-214
p. 12, b. 215-243
p. 13, b. 244-267
p. 14, b. 268-281
p. 15, b. 282-295
p. 16, b. 296-309
p. 17, b. 310-326
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GE - German edition
GE1 - First German edition
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
EE3 - Revised impression of EE2
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GE - German edition
GE1 - First German edition
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
EE3 - Revised impression of EE2
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  b. 111-112

Staccato dot to e in GE

3 staccato dots to a1 in FE (→EE)

4 dots suggested by the editors

Compared to analogous b. 87-88, in these bars the staccato articulation of the quavers is much less carefully marked in the sources. However, we can be certain that Chopin did not mean a different performance here, as the dots of GE and FE are complementary, since, when combined, they result in the same set of marks as used the first time. The differences, in turn, are most probably a result of inaccuracies of the engravers, the copyist or Chopin himself.

Compare the passage in the sources »

category imprint: Differences between sources

issues:

notation: Articulation, Accents, Hairpins

Missing markers on sources: GE1, GE2, FE1, FE2, EE1, EE2, EE3, FES