FE1
Main text
GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Corrected reprint of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
compare
  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 g2 is 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 gin 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 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-aprogression, 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.

Compare the passage in the sources »

category imprint: Interpretations within context

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

notation: Pitch

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