Chopin hesitated whether to begin the bar from a rest or from a bass crotchet. It is already in AI that we see both versions – next to the rest, a crotchet was added and then crossed out. On the basis of observation only, it is impossible to interpret its pitch, yet the Chopinesque predilection for bass notes makes us see it as the G
note (similar traces of changes can also be observed in the next bar). However, it should be noted that the harmonic situation in AI differs from the one featured in the published versions – in this autograph the hitherto ubiquitous bass g note was no longer repeated already in previous b. 138, and Chopin could have been looking for a way to bring it back, particularly since on the 3rd beat of this bar, first time in this phrase, a chord suggesting a tonic C minor chord appears and consequently a possible change of the bass note. In AF and GE g is repeated in b. 138, including as the root of the tonic chord, which dissipates this potential doubt. In spite of that, in AF the need to bring back the bass G note prevailed, and it was only just in [AG] (→GE) that Chopin forwent this crotchet, probably due to the rhythmic reasons:
- b. 136, 138 and 140, implementing the same melodic scheme in the R.H., are also based on a constant rhythmic scheme of the L.H. part, whereas the presence of G at the beginning of the discussed bar distorts this scheme;
- the above also concerns b. 134. As a result, according to us, in both bars an analogous version should be applied;
- the separate R.H. slurs in b. 139-140, which probably express Chopin's latest concept, suggest that rhythmic homogeneity should be maintained both in these bars and in all five being the subject of the analysis.
In spite of Chopin's hesitations, the version of GE seems to be most mature, hence we give it in the main text.
category imprint: Differences between sources; Corrections & alterations; Source & stylistic information
issues: Chopin's hesitations, Accompaniment changes, Corrections of AI
notation: Pitch
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