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The revision performed in EE2 – adding naturals raising g
-g1 to g-g1 – was introduced in the majority of the later collective editions, so the fragment is still performed most frequently in this non-authentic version. A premise for this intervention was probably the use of g-g1 in two previous bars and a conventional harmonic sense, in accordance with which the chords stemming from C9> (c-e-g-b and e-g-b-d) are a natural choice of continuation of the G7 chord. However, nothing indicates a possibility of Chopin's overseeing the naturals here:
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the use of the altered form of both chords (c-e-g-b and e-g-b-d) is equally harmonically justified and frequent in Chopin's music;
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it is completely unlikely that Chopin, hearing g, would have used the incomprehensible in this harmonic context notation with f;
- Chopin did not overlook the naturals before G and g in bar 38, following directly the discussed bars;
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in the entire finale of the Sonata the use of the g/g sounds was marked by Chopin in an obvious manner; the only inaccuracy in this respect (the overlooked in [A] (→FE) flats before the 5th quaver in bar 51) were added by him in GC, perhaps also in the base text to EE and FED;
- there are no additions of accidentals in these bars in any of the pupil's copies with Chopin's annotations.
The above arguments prove that the source text does not require any corrections here.
category imprint: Interpretations within context; Differences between sources; Editorial revisions
issues: EE revisions
notation: Pitch
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