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Source: 
p. 1, b. 1-21
p. 1, b. 1-21
p. 2, b. 22-40
p. 3, b. 41-55
p. 4, b. 56-73
p. 5, b. 74-90
p. 6, b. 91-109
p. 7, b. 110-125
p. 8, b. 126-140
p. 9, b. 141-155
p. 10, b. 156-172
p. 11, b. 173-187
p. 12, b. 188-205
p. 13, b. 206-223
p. 14, b. 224-244
p. 15, b. 245-264
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Main text
A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Revised impression of GE2
GE4 - Corrected impression of GE3
GE1a - Album German edition
EE - English edition
EE1 - First English edition
EE2 - Amended impression of EE1
EE3 - Revised impression of EE2
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Graphic ambiguousness
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A - Autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Revised impression of GE2
GE4 - Corrected impression of GE3
GE1a - Album German edition
EE - English edition
EE1 - First English edition
EE2 - Amended impression of EE1
EE3 - Revised impression of EE2
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  b. 7

e1 in A (→FEEE1EE2)

d1 in GE & EE3

The version of GE may be either a revision of this edition (cf. the comment on b. 45-47) or a variation introduced by Chopin (e.g. along with Lento – cf. the comment on b. 1). The vast majority of arguments are for the former, i.e. for this chord being arbitrarily revised in GE:

  • clear notation of A, repeated without changes in FE, which was proofread by Chopin twice;
  • testimonies of Chopin's pupils and friends – Marcelina Czartoryska, Friederike Streicher, Ferdinand Hiller and Adolf Gutmann.

Therefore, in the main text we give e1, considering d1 a variant of uncertain authenticity.
The change in EE3 must have been introduced on the basis of a comparison with GE.

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category imprint: Differences between sources

issues: EE revisions, GE revisions, Authentic corrections of GE

notation: Pitch

Missing markers on sources: A, FE1, FE2, FED, GE1, GE2, GE3, GE4, GE1a, EE1, EE2, EE3