The interpretation of this bar in FE, in particular the 3rd and 5th quaver, is problematic. Formally speaking, the notation is correct; when interpreted literally, it results in d1-e
1 and d2-e2 as the top notes of these quavers. This version seems to be confirmed by the notation of the 6th L.H. quaver – the accidentals preceding this quaver change the sound of its top notes, which otherwise would have been d1-e1. Nevertheless, both the sonic result of the entire passage and the use of exclusively cautionary accidentals to write down the 3rd and 5th quaver suggest a mistake, particularly since the flats to b and b1 are superfluous, while the justified flats to e1 and e2 are absent. Moreover, if we take into account the fact that Chopin would frequently omit accidentals to notes placed an octave higher or lower (cf., e.g. the notes in bars 192-194, 192-195 and 196), we will reach a conclusion that the top notes of the chords should be preceded by naturals, which would make the problematic notes d1-e1 and d2-e2. We consider this version, sonically acceptable in this bar, to be the FE text. In a broader context – between the B minor chord in bar 196 and the diminished seventh chord on the 6th quaver in the discussed bar – an e-g-b-d chord sounds foreign due to the tonally unjustified use of d between two d notes. Therefore, as the notation turns out to be incorrect, a different mistake could have been committed – both accidentals were misplaced, as they should have been next to the top, and not the bottom notes of the chords (a similar mistake was committed in FE – in a less problematic place – in bar 204). This leads to the most natural version, harmonically speaking, in which this entire bar is based on an e-g-b-d chord. We consider this solution to be most likely; GE and EE also introduced the relevant corrections.
category imprint: Differences between sources
issues: EE revisions, Errors in FE, GE revisions
notation: Pitch
Back to note