The sources of the solo part – A (→GE→FE→EE) – include F in the bass. At the same time, in the orchestral part – in ReF and Morch – the bass note is an unquestionable G. It results in an F-G second as the base of the chord, which – particularly in the face of no resolution of the seventh in the next bar (ReF has there c-e
, whereas Morch – C-e) – could not be intended by Chopin in this kind of accompaniment. When considering the whole, with the orchestra, the bass note in bar 217 must be G, and the bottom notes of the piano create a following sequence together with cellos and double basses (in the version of ReF) (the harmonic scheme of higher voices was written on the top stave with smaller notes):
There are no reasons to assume that Chopin would like to change the bass note from G to F in this version. It would require – due to the need to resolve the seventh – a change of the bass note also in the next bar (to E), which is not to be found in any of the sources.
In that case, how come that F was written in A? Forming the bass line from alternating piano and double bass sounds is something unique in Chopin's pieces with orchestra. Perhaps this is why, writing A most probably on the basis of [AI], including only the solo part, he could have led the bass line without taking into account the sounds of the double bass, changing bass notes of some chords. If we include pedalling, the actual bass line forms an A-G-F sequence:
.
On the basis of the above analysis, in the main text we suggest G, compliant with the orchestral part. The version with F may be considered an acceptable variant only when performing the piece without accompaniment. Another case of uncoordinated solo part with a bass sequence in the orchestral accompaniment within ½A – see bars 243-244.
category imprint: Interpretations within context; Differences between sources; Editorial revisions
issues: Errors of A
notation: Pitch
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