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Both source versions of the top note of the 3rd third in the bar – g
1 and g1 – may be considered as a manifestation of Chopin's final intention. The arguments for the version with g1:
- compliance of AI, A and FE1 (→GE,EE), carefully corrected by Chopin,
- Chopin entry in a pupils' copy [GES],
- analogy of contrast of bars 30-31 and 34-35, in which the dynamic contrasts enhance the difference of the harmonic colour,
- lack of total certainty as for the authenticity of the change performed in this place in FE2 (a possible error of the engraver).
The arguments for g1:
- presence of this note in the earliest (AI before the added changes) and latest (FE2) written version. One could see here an example of Chopin's hesitation, ended in return to the original idea;
-
making the dynamic contrasts an independent micro formal shaping factor. The difference of the interval structure stopped being obligatory and g1 sounds strange within the scope of functional harmony after bars 32-33, based on the c-e-g-b chord;
- three pupils' copies – FED, FEJ, FES – with no changes in this place, in spite of numerous Chopin entries in the entire Etude.
According to us, it is the first group of arguments that is more convincing than the second.
category imprint: Differences between sources; Corrections & alterations
issues: Authentic corrections of FE
notation: Pitch
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