Main text
Main text
½A - Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE - German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
compare
  b. 230

a in A, literal reading

f in A (contextual interpretation) & GE (→FEEE)

The version of A with a as the 11th semiquaver is almost certainly an example of the Terzverschreibung mistake, since a momentarily introduction of a seventh in this place and then a return to still before its resolution cannot be sonically explained. Also in the perspective of the entire eight-bar section (225-232), the violation of the harmonic unity of the bar seems to be unadvisable – each of six bars, built on a figuration of such a structure, stabilises the harmonic course and brings resolution of tensions from the previous bar, at the same time preparing the  entrance of a new, unexpected chord (containing a dissonance or at least constituting a subsequent part of an ascending progression). Introducing a seventh, which would increase the tension, would undermine the dramatic expression of this scheme. 

The mistake was corrected already in GE (→FEEE).

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Terzverschreibung error, Errors of A, Authentic corrections of GE

notation: Pitch

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