The illogical GE version (→FE,IE), in which the c1-f
1-a1 chord at the beginning of the 2nd half of the bar is a crotchet and is assigned to the bottom voice, resulted from a misunderstanding of the A notation, which is actually misleading. The manuscript can be interpreted twofold:
- The stem under c1 concerns the f1-a1 third, as it was, more or less, in the preceding bar, where the division into parts is clear only due to the dots prolonging the g1-a1 second. Harmonically and pianistically speaking, this version is flawless, yet the chosen kind of notation would be very confusing, which, according to us, reduces the likelihood of it being interpreted correctly.
- The alleged stem under the c1 note is a side result of the manner of writing notes on ledger lines with a small stroke pointing downwards, to mark the presence of a given note, which otherwise could be imperceptible due to the thickness of the ledger line; this manner is often to be found in Chopin's autographs – cf., e.g. the Mazurka in B
minor, Op. 24 No. 4, bar 23. In the Sonata, there are many examples of this kind of notation, e.g. at the end of bar 49 (in the same line, in the R.H.). When interpreted as such, the A notation is unambiguous and simple – the entire chord is supposed to be a quaver. Therefore, we consider it to be the A text and introduce it into the main text.
The EE version probably resulted from an unfinished attempt at correcting the GE notation – the aim was one of the versions described above, yet the middle notes of the chord were not printed.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Differences between sources
issues: Errors in EE, Errors in GE, Uncertain notes on ledger lines, Inaccuracies in A