to the tonic key, and the introduction of an agitated bass accompanimental figure; four bars later, the main theme enters. The main theme, marked agitato, is followed by a second theme, in D major, which is marked piano and sostenuto. In the beginning of the development, all of the themes introduced in the exposition appear. Later in the development, a seemingly new tune, which is actually an inversion of part of the second theme, is introduced. In the climax of the development, Chopin combines three elements at once: the motifs from the Grave introduction and the main theme in the bass and treble respectively, with crotchet triplets in the middle. In the recapitulation, the principal section containing the main theme does not return, possibly inspired by the older binary sonata form typical of Domenico Scarlatti's keyboard sonatas; instead, only the lyrical second theme returns in the tonic's parallel major of B. The movement is closed with a brilliant 12-bar stretto which forms a coda of 12 bars, ending in three B major chords marked (fortississimo). Repeat of the exposition When the sonata was published in 1840 in the usual three cities of Paris, Leipzig, and London, the London and Paris editions indicated the repeat of the exposition as starting at the very beginning of the movement (at the Grave section). However, the Leipzig edition designed the repeat as beginning at the Doppio movimento section. Although the critical edition published by Breitkopf & Härtel (that was edited, among others, by Franz Liszt, Carl Reinecke, and Johannes Brahms) indicate the repeat similarly to the London and Paris first editions, almost all 20th-century editions are similar to the Leipzig edition in this regard. Charles Rosen argues that the repeat of the exposition in the manner perpetrated by the Leipzig edition is a serious error, saying it is "musically impossible" as it interrupts the D major cadence (which ends the exposition) with the B minor accompanimental figure. Edward T. Cone agrees, calling the repeat to the Doppio movimento "nonsense". However, Leikin advocates for excluding the Grave from the repeat of the exposition, citing in part that Karol Mikuli's 1880 complete edition of Chopin contained a repeat sign after the Grave in the first movement of the Piano Sonata No. 2. Mikuli was a student of Chopin from 1844 to 1848 and also observed lessons Chopin gave to other students – including those where this