A
Main text
A - Autograph
FC - Fontana's copy
CGS - Copy by George Sand
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 9

Single notes in sources

Octaves, our alternative suggestion

Complementing the bass line with octaves seems to be advisable due to the shape of the motif (cf. b. 1), repeated in octaves in the next two bars (b. 10-11). The absence of those notes in the sources could have resulted from the limitations of the pianos at Chopin's disposal – their range did not go beyond C1 in the bass register. On the other hand, the absence of octaves can be linked to the  dynamics at the beginning of the crescendo – the fact that Chopin did not dispose of B2 does not have to mean that he wanted to use it. Therefore, the version with octaves can be considered an acceptable variant. Cf. the Scherzo in C Minor, Op. 39, b. 197 and 241.

Compare the passage in the sources »

category imprint: Editorial revisions

issues: Constraint from piano range

notation: Pitch

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