mUltimate Chopin

b. 143-144

	2 times g² in the sources
	2 times g² suggested by the editors
	2 times g² precised by the editors
	g² & g² – possible interpretation

There are no accidentals before the g² (g²?) notes. The version with g²is supported with the following arguments:

high likeliness of an oversight of accidentals (g² notes are present both in the previous and in the next bars);
double use of cautionary flats by Chopin in this fragment cancelling the naturals from the previous bars (before d³ in bar 139 and before a² in bar 142). Hence it is likely that if he had wanted to have a g²in this place, he would have inserted a also in bar 143;
the bars are based on a transitory chord between the F minor chord in bars 141-142 and the E minor one in bars 145-146. In this context, the g² sound as a common sound for these keys is more likely, making the perception of the version to be harmonically smoother.

However, there are also a few arguments for the version with g²:

in the entire section (bars 137-152) Chopin wrote the accidentals accurately enough, so except from the discussed bars the pitch of sounds does not raise any doubts. It reduces the likeliness of an oversight of naturals here;
in bar 129, based on the same chord, Chopin used f in a similar motif in the L.H. between e and g;
in each of bars 137-150 three middle melodic notes (of the top most voice) create a diatonic progression composed of major or minor seconds – b²-c³-d³ in bar 137, g²-a²-b² in bar 138, b²-c³-d³ in bar 139, etc. Adoption of g² in bar 144 would give an e²-g²-a²progression, breaking this rule. The version with g² seems to be, therefore, melodically smoother.

It is also worth observing that everywhere where there is a major third in the middle of the bar (bars 137, 141, 145 and 147-148), the preceding quaver creates with it a major second in the top voice and minor in the bottom one. Following this rule, we get a g² in bar 143 and g² in bar 144, which also cannot be entirely excluded.

Taking the above into account, we suggest three versions of clarification of the source version, giving priority to the version with g² – unified and slightly harmonically smoother.

category imprint: Interpretations within context

issues: Inaccuracies in FE, Omission of current key accidentals, Inaccuracies in GC

notation: Pitch

Back to note

Op. 35, Sonata in B♭ minor, Mvt I