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8– – ¬ to bar 340 in A (→GE1), contextual interpretation & in EE2 |
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8– – ¬ over octave in bar 337, suggested by the editors |
According to us, Chopin did not want these bars to differ from analogous bars 13-16, although there is no corresponding version in any of the sources. The first cause of such a state of affairs was a possible mistake committed by Chopin in A – an unnecessary extension of the line determining the range of the octave sign beyond the 2nd crotchet in bar 337. However, the correction of this error in FE (→EE1) – elimination of the entire octave sign – also removed the characteristic leap to the f3-f4 octave, which, due to its important role in the entire 3rd mov. of the Concerto, could not possibly be intended by Chopin. Therefore, the version of FE is most probably not entirely correct. The situation is even more obscure due to minor, obvious mistakes, e.g. no ending of the octave sign in bar 340 in A (assuming its correctness) and embracing the 1st crotchet in bar 337 in GE1 with the octave sign. In later editions, one of the previous versions was introduced arbitrarily, which does not influence the determination of the text in any way.
category imprint: Interpretations within context; Differences between sources
issues: EE revisions, Errors in FE, Errors in GE, GE revisions, Errors of A, Authentic corrections of FE
notation: Pitch