In the version of FE proofread by Chopin, the notation of the last quaver is questionable. There are three possibilities:
- Chopin actually wanted to play b
with both hands or at least accepted such a result of proofreading; - the aim of Chopin's corrections was a version similar to the ending of the theme (b. 103), in which each hand plays only one note of the octave; however, the proofreading corrections were implemented inaccurately, which Chopin already did not check;
- Chopin assigned b to the R.H., since he wanted the L.H. to play the B1-B octave, which, however, was not put into effect.
The first two possibilities sound very similar, hence they can be considered two interpretations of the notation of FE, which we give in the main text. The third possibility, in which the last quaver is identical to Variation I and Variation III (b. 135 and 207), can be regarded as an acceptable variant (nevertheless, none of the similar solo or orchestral endings – b. 79, 95, 103, 135, 207 – features a two-octave leap in the bass between the 2nd and 3rd quavers, which is the case of this version; consequently, it is a suggestion that it could have been inconsistent with Chopin's intention).
One can ponder whether the fact that the solo version of the ending of this tutti (and of the next one, in b. 207) was made to resemble the previous two could be a signal to change the concept of the full, orchestral version of these places as well. According to us, placing final chords in various registers, which is particularly typical of the piano texture (since it allows to circumvent the restrictions related to the hand span), could have been introduced irrespective of the orchestral version – cf. such a difference in approach in the ending of mov. III of the Concerto in F minor, Op. 21.
Compare the passage in the sources »
category imprint: Differences between sources; Corrections & alterations
issues: Accompaniment changes, Authentic corrections of FE, Main-line changes
notation: Pitch
