It seems that a comparison with analogous bar 449 would point to the correctness of the version of GE. However, differentiating between those bars is justified due to the manner in which they are combined with the preceding figuration, which is each time different:
- the top g
1 of the octave in bar 449 continues the line of a1, the penultimate semiquaver in bar 448, whereas the c1 and f1 notes, common for chords of both bars, allow for maintaining the hand position unchanged; - in bar 453, the direct continuation of b1 from the previous bar is unnecessary, since it is a common note for chords in those bars; from the pianistic point of view, the single f in bar 453 naturally combines with the previous passage thanks to the preserved position of the 1st finger (it allows for avoiding the impression that both hands move parallelly); respective fingering was added in FEH.
It must be emphasised that the strikes of the octaves in bar 453 are enhanced with accents, appearing only just from the 2nd beat of the bar. Taking into account the above arguments and the fact that the authenticity of the changes performed in GE has not been confirmed, in the main text we give the version of FE (→EE1). An octave at the beginning of the bar was introduced also in EE2 (→EE3), probably on the basis of comparison with GE. For unknown reasons, the added note was printed in smaller font.
Compare the passage in the sources »
category imprint: Differences between sources
issues: EE revisions, GE revisions
notation: Pitch
