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This unique in Chopin's output (if we do not count the significantly shorter Prelude in E
minor, Op. 28 No. 14) and generally in the Romantic music piece raises doubts concerning the final pitch of the sounds. It concerns:
- the last triplet in bars 22, 47 and 50, where the source text does not contain a clear mistake, yet, due to the harmonic reasons, one can assume Chopin's oversight of the signs cancelling the previous alterations. However, due to the fact that the harmony in the Finale is often ambivalent, in the main text we leave the source versions, suggesting possible additions in the form of accidentals over and under the staves. It is also, to an extent, supported by the absence of corrections in the pupil's copies;
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the third triplet in bar 63, where the notation of the sources based directly on [A], interpreted literally, is erroneous – the 8th quaver is an A-a. Also in this case, neither stylistic nor source arguments indicate conclusively one of the versions, however, in this case one has to choose a conjecture. In the main text we suggest A-a, as we consider the interpretation of the note written without a cautionary accidental as compatible with the key signature to be more natural.
category imprint: Interpretations within context; Editorial revisions
issues: Omissions to cancel alteration
notation: Pitch
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