According to us, it is quite likely that the 1st L.H. quaver was being corrected in this bar in FE. The beam, placed too high, suggests that initially there was just one note, g, while the e
notehead was added later. It is also likely that the correction was aimed at changing the probably erroneous bass note, from g to e, and not at adding another note. An e note would constitute a regular fourth leap with the preceding B note, soon repeated a second lower as A-d. Therefore, the correction would have remained unfinished, which was a frequent occurrence in Chopin's pieces (cf., e.g. the Ballade in F, Op. 38, bar 179 or the Concerto in F minor, Op. 21, mov. III, bar 282). The absence of a direct resolution of the a seventh from the preceding bar is not unusual in such accompanying figures, cf., e.g. the Fantaisie in F minor, Op. 49, bars 78 and 82 or the Nocturne in F
minor, Op. 48 No. 2, bars 5-6 and analog. Taking into account the above, we suggest a more regular e-e1-b figure, justified by the above scenario, as an alternative version with respect to the source text.
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category imprint: Editorial revisions
issues: Errors in FE, Terzverschreibung error, Authentic corrections of FE, Partial corrections
notation: Pitch