All versions of these bars presented in the sources (except the literal reading of GE1 - see below) would be acceptable but for the obvious primacy of the pianistically and sonically natural corresponding versions in bars 336-339. Here is why in the main text we propose the latter. It was also adopted in FE2 and GE2.
It is not clear what caused those inaccuracies and most probably actual errors. The consistency of EE and GC may well mean that the repeated g
-f seventh in b. 345 was already notated in [A1]. Such an error may have occurred as a result of mixing bars while writing [A1] based on the working autograph or draft (Chopin made a similar error in the autograph of Ballads g Op. 23, bars 159-160, but the composer corrected himself and edited the text). We believe that the most probably scenario behind FE1 is the following:
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text of bars 346-347 is erroneously printed as bars 345-346, as a result g-f1 seventh is omitted (should be in b. 345), and g2-f3 seventh appears twice (in bars 346-347);
- to keep the correct octaves in dyads in bars 346-347 Chopin (?) while editing the text moves the seventh in b. 347 one octave higher not analysing the real sound of the LH part (3 bars an ocatev too high) or its relation to the RH passage (both hands in contact uncomfortably several times).
In GE1 the incorrect g-f seventh was elevated one octave higher to the right pitch, but on the upper note instead of two sharps there was only one printed.
Compare the passage in the sources »
category imprint: Differences between sources
issues: Errors in FE, Errors in EE, Errors in GE, GE revisions, FE revisions, Errors of GC
notation: Pitch
