According to us, the version written in A (→FE→EE) – the g
2-c3-g3 chord – is erroneous, although there is no proof thereof in the sources, since the naturals added in FC were almost certainly not written by Chopin's hand. There are also no annotations in the preserved teaching copies. Chopin's mistake, corrected by Fontana, is supported by the following arguments:
- The motif of four notes, characteristic of this theme, out of which the third one, being a repetition of the previous two, creates a dissonance (delay) with the chord being the basis of the L.H. figuration. This motif or its variant appear on several occasions, and it constitutes the main thematic material in the extensive ending of the theme: see b. 687-688, 695-696, 699-700, 701-702, 703-704. In the discussed bar, the use of a chord featuring g2-g3 creates one more appearance of this motif, organically combining the final climax of the theme with the preceding progression.
- Other examples of Fontana's accurate revisions in the Scherzo – adding an octave sign in b. 31-33 and 262, overlooked by Chopin, and probably a natural raising g2 to g2 in b. 209.
EE2 (→EE3) arbitrarily added cautionary flats before the discussed notes.
category imprint: Interpretations within context; Differences between sources
issues: EE revisions, Errors of A, Fontana's revisions
notation: Pitch
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