Page: 
Source: 
p. 3, b. 69-102
p. 1, b. 1-32
p. 2, b. 33-68
p. 3, b. 69-102
EEW - First English edition
Main text
AI - Earlier autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EEW - First English edition
EEC - Later English edition
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Graphic ambiguousness
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Articulation, Accents, Hairpins
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No differences
AI - Earlier autograph
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Corrected impression of GE2
EE - English edition
EEW - First English edition
EEC - Later English edition
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copy link PDF EEW - First English edition


  b. 84

g2 & g1-c2 in AI

c2-g2 & g1 in FE (→GE,EE)

The deletions visible in AI allow us, with high probability, to reconstruct a still earlier version of the first two beats in the R.H. part: . Having analysed the changes, we can say that by trying various combinations of g1, c2 and g2 notes, since the very beginning, Chopin had been trying to find both the best sound and the most comfortable piano grip for this figure. In the main text we give the latest version of FE (→GE,EE).

Compare the passage in the sources »

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes, Main-line changes

notation: Pitch

Missing markers on sources: AI, EEW, EEC, FE1, FE2, FES, GE1, GE2, GE3