EE1
Main text
AsI - Working autograph of score
A - Autograph fair copy
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE1
GE3 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FESB - Later French edition
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
EE3 - Revised impression of EE2
compare
  b. 255

Both in the last L.H. chord and in the R.H. arpeggio on the 4th beat of the bar, neither AsI nor Af nor A (→GE1FE,EE) contain accidentals before g/g notes in various octaves. Actually, harmonically speaking, g would be possible; however, in this context, it is much more likely that we are dealing with overlooked naturals:

  • after changing the key signature, Chopin was uncertain which were valid – this is proven by numerous unnecessary flats before d, g, a and even e and b in bars 255-259 in AsI; in A there is still a flat before B at the end of bar 255 and before g2 in bar 256;
  • diminished seventh chords belonged to young Chopin's favourite ones.

The decisive argument for g is provided by the orchestral part – there is a note in the 2nd violins, and the violins could not play g here.

The first edition to add naturals was GE2 (→FESB), 4 accidentals in total raising g1 to g1 in the L.H. and g2, g1 and g to g2, g1 and g in the R.H. The overlooked  to the 2nd demisemiquaver (g3) was added by GE3, in which, however, the accidental to the penultimate demisemiquaver, g, was overlooked.

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE, GE revisions, Errors of A, Last key signature sign

notation: Pitch

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