Page: 
Source: 
p. 8, b. 113-126
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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Main text
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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Pitch
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Articulation, Accents, Hairpins
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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. 125

No sign in GE

 in FE, literal reading

 in FE, possible interpretation

Long accent in FE, interpretation suggested by editors

Accent in EE

According to us, the  mark in FE was inaccurately copied from the manuscript. After the eight-bar diminuendo and after defining the new level of dynamics (), most probably target, a common prolongation of the diminuendo by a fraction of a bar seems to be insignificant, hence it is highly unlikely that Chopin could have written it down in such a form. Due to the above reason, we suggest two possible interpretations of this mark, which are, according to us, more likely in this context.

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category imprint: Differences between sources

issues: Long accents, Inaccuracies in FE

notation: Articulation, Accents, Hairpins

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