In the main text we give the version of A1, which is also present in CK. However, it is uncertain whether it was also in [A2], since the 3rd quaver in b. 61 in CJ, which is also based on this autograph, is an e
1. According to us, it is Ludwika's mistake in CJ that is more likely:
- Ludwika's copies, both of the Lento and other pieces by Chopin (cf., e.g. the Polonaise in B
Major, WN 17) generally contain a significant number of mistakes and inaccuracies; - the copyist could have confused this bar with b. 63, which opens with an identical figure;
- it is also likely that the
indication was included twice – if it had been written in "small handwriting" and placed the way it was in CK, one could have seen it as a 
before the 3rd L.H. quaver while writing the L.H. part, whereas, at the time of entering performance indications, which generally takes place after the pitch and rhythm had been written, interpreted it correctly as .
However, the placement of in CK could have also been one of the possible reasons for Kolberg's oversight of a before the L.H. quaver, which leads to a less likely, yet not impossible version with e1 in b. 61. Automatically, a problem concerning the pitch of the respective note in b. 62 emerges, which is an e1, when interpreted literally. Such oscillations between chords in parallel keys are generally rare in Chopin's oeuvre, while a series of three subsequent changes of this kind remains without parallel in his entire output. The absence of a cautionary 
before this note also seems to be highly questionable – in similar situations it is oversights of signs proper of the current key that are typical of Chopin. Assuming that this was the case – Chopin wrote a raising e1 to e1 in b. 61, meaning an e1 also in b. 62 – the version with a four-bar ending in the key of C major may be considered a potentially authentic variant, as far as the sources and stylistic issues are concerned. There are situations in which we encounter major endings consisting of a few or several dozen bars in Chopin's compositions, e.g. in the Nocturnes in E Minor WN 23, C Minor, Op. 27 No. 1, F Minor, Op. 48 No. 2 or F Minor, Op. 55 No. 2 as well as in the Scherzo in B Minor, Op. 35 or in the song "The Bridegroom". The last two examples resemble the situation in the Lento slightly better, since the change of mode takes place in the course of numerous repetitions of a short motif, while the final phrase appears only just after a while (scherzo) or does not appear at all (song).
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources; Corrections & alterations
issues: Omission of current key accidentals, Errors of JC, Inaccuracies in JC, Errors in CK
notation: Pitch
