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There's a conflict between two editions.

In the Cortot edition, the E-flat in measure 6 in the bass is tied to the E-flat in measure 7.

In the Schirmer Mikuli edition, there's no tie over the bar line, and the E-flat is played again on beat 1 of measure 7.

Any ideas why the discrepancy? Is one of them right and the other wrong? Or is there perhaps a justification in the original manuscript(s)?

My edition says tied. Also I think it makes sense because in the first line when the RH has the theme, the high E flat is tied as well. Also I see no reason that the e-flat should be played again

The commentary to the Henle edition indicates that the Breitkopf & Härtel (which is one of the source editions, it seems) "lacks" the tie to the E-flat in the next bar, but it is tied in the Henle edition. Since the entire chord is tied, it would make little sense to repeat the E-flat in the left hand.

Regards,

The autograph used for the first German edition (Breitkopf & Härtel) started a new line for measure 7, and it has a tie at the beginning of measure 7 but not from the end of measure 6. The (lost) copy of the autograph made by Chopin's friend Fontana for the first French edition (Schlesinger), presumably understood that Chopin meant a tie in the LH from measures 6 to 7 and wrote it in clearly, because that is what appeared in the French edition.

Chopin corrected the French edition twice (the publisher brought out a second impression soon after the first, with various corrections), but he still missed quite a few mistakes that are detailed in the source commentary of the National Edition.

I would guess that Mikuli mainly followed the first German edition for this piece, while Cortot mainly followed the first French edition, hence the discrepancy.

Thank you.

I'm looking at another interesting discrepancy between Mikuli and Cortot. In bar 26 (the measure starting with the G-flat trill), in Mikuli, the prase mark extends from beat 2 across the bar line to the B-flat octave in bar 27. But in Cortot, the phrase mark includes only the five notes in beat 2 of measure 26.

This is a difference in phrasing, and also potentially a difference in fingering. Mikuli's fingering on the last eight note of bar 26 is 5-3 (i.e., a finger substitution), so the B-flat octave can be played again with 5, continuing the phrase. But Cortot puts 5 on the last eighth note, then 4 on the B-flat.

Any thoughts on which is preferable?

(Or am I getting too hung up in trivia?)

More show and tell from Louie, and oh gosh, there is all this terrible rolling of chords and modificiation of tempo.

Obviously, this particular pianist had not sufficiently EVOLVED! Tres terrible!!

Enjoy, and, if you have half a brain, learn!

https://www.youtube.com/watch?v=rJHo2J-2rAM