It is difficult to say how the difference between GE and FE (→EE) occurred in this place:
- both versions may be authentic, since they do not raise any stylistic doubts;
- each may also be a result of a mistake – overlooked note in GE, unfinished (partial) correction in FE (a1 was added to the erroneously printed b-f
1 fifth; it was supposed to replace f1, but the wrong note was eventually not removed – cf. e.g. the Concerto in F minor, Op. 21, mov. III, b. 282 or the Etude in E
major, Op. 10 No. 11, b. 4).
A comparison with analogous b. 228, in which a respective crotchet has 3 notes (f-c1-e1), seems to be an argument for the version with f1. On the other hand, however, a comparison of the pairs of bars (b. 169-170 and 228-229) that do not include f1 shows a subtle difference between both places, so typical of Chopin – the first time the L.H. part contains 3 notes in each bar, with impeccably led voices, while the second time both bars include 4 notes, which goes well with a few other differences in the L.H. part, enriching the second appearance of this phrase in terms of sound (e.g. a grace note in b. 230 or a third on the 3rd beat of b. 233).
Taking into account the above, in the main text we suggest a variant solution.
Compare the passage in the sources »
category imprint: Differences between sources
issues: Errors in GE, Authentic corrections of FE, Partial corrections
notation: Pitch