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The natural lowering g
2 to g2, written in ink in FESf, defines a version that, according to us, may be considered a potentially authentic variant:
- Relation to the preceding, ascending sequence (in b. 520) was not approached by Chopin rigorously – cf. the prototype of those motifs in b. 53-56, where a descending chromatic sequence corresponds to an ascending diatonic sequence.
- The resulting figure is strictly analogous to the next segments of the progression in b. 530 and 534.
- The intervals resulting between the transitional notes and the ones belonging to the chords in b. 520-521 are whole tone e2-f2, semitone g2-a2 and semitone b2-c3, respectively; the figure in b. 522-523 includes the same scheme of descending intervals when the 4th quaver is g2: whole tone b2-a2, semitone g2-f2 and semitone e2-d2.
- In this context, the note is clearly of transitional nature, without prejudice to the E major key, consolidated since b. 516.
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category imprint: Differences between sources
issues: Annotations in teaching copies, Authentic post-publication changes and variants, Annotations in FESf
notation: Pitch