In the main text we give the last chord in bar 52 and the first one in 53 after A (→FE→EE3). The authenticity of this version is undeniable, a possible error is also out of the question, because if Chopin wanted to lead the progression of chords further upwards, he would simply write the last two chords in the part of the L.H. in the treble clef (the upward octave sign in the bass clef is not used in the piano music at all). The version of GE (repeated in EE4 on the basis of GE3) appeared in a form of correction already after the first version of GE1 had been printed (there are visible traces of changes in print). There is a number of serious arguments (see the characteristics of GE1) why Chopin could not have had a possible influence on the shape of GE1; the change, particularly in the R.H., could have seemed justified to the reviser (omitted or erroneously marked octave signs belong to typical errors of engravers, copyists and composers). In spite of this fact, the issue of authenticity of the version of GE cannot be considered to be conclusively solved, as it seems to be favourable in certain aspects:
- the continuation of the progression of arpeggios upwards is pianistically more comfortable than the return to the lower position;
-
the change may be linked to the undoubtedly authentic dynamic concept of the Etude's ending introduced in FE. In the version of A, the discussed progression of chords continues the withdrawal of music performed from bar 50, which is indicated by sotto voce and the shape of the melody with the highest note on the 5th quaver in the bar, while the impressive ending is constituted by two final leaps in bars 53-54. The change of dynamics in bar 52 to
extends the scope of the brilliant ending, which could have then inspire Chopin to change the shape of this progression.
Naturally, the aforementioned observations cannot decide the authenticity of the version of GE themselves. They also do not answer the question why Chopin – if it was him that was behind this change – did not introduce it in FE, e.g., in FE2, in which in this Etude a few additions were made, among others in the previous bar.
Compare the passage in the sources »
category imprint: Differences between sources
issues: GE revisions, Authentic corrections of GE
notation: Pitch