Page: 
Source: 
p. 4, b. 76-103
p. 1, b. 1-24
p. 2, b. 25-49
p. 3, b. 50-75
p. 4, b. 76-103
p. 5, b. 104-124
p. 6, b. 125-141
p. 7, b. 142-161
p. 8, b. 162-182
p. 9, b. 183-207
p. 10, b. 208-228
p. 11, b. 229-248
p. 12, b. 249-269
p. 13, b. 270-292
p. 14, b. 293-312
p. 15, b. 313-332
p. 16, b. 333-352
p. 17, b. 353-373
p. 18, b. 374-399
Main text
Main text
A - Autograph
GE - German edition
GE1 - First German edition
FE - French edition
FE1 - First French edition
FE2 - Revised impression of FE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
IE - Italian edition
IE1 - First Italian edition
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A - Autograph
GE - German edition
GE1 - First German edition
FE - French edition
FE1 - First French edition
FE2 - Revised impression of FE1
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
IE - Italian edition
IE1 - First Italian edition
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  b. 103

c1 on 3rd quaver of bar in A

c1 on 4th quaver in GE (→FE,EE,IE)

In the main text we provide the A version. In GE (→FE,EE,IE) it was arbitrarily changed to a version analogous to bar 312. Taking into account the fact that this bar was most probably created later than the discussed one, it cannot be ruled out that Chopin would have introduced the later version also here if he had continued working on the Sonata. Therefore, according to us, it is justified to use it here as an acceptable variant.

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category imprint: Differences between sources

issues: GE revisions

notation: Rhythm

Missing markers on sources: A, EE2, EE1, IE1, GE1, FE1, FE2