Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 21, Concerto in F minor, Mvt III
b. 217
At the beginning of the bar, we give G in the main text, present as the bass note in the orchestral part, Morch. It would be unthinkable that the F seventh placed in the bass would remain unresolved, moving on to C in the next bar, present in the double bass part. A possible reason for the erroneous presence of the F note in A is imagining only the solo piano part when writing A, in haste. In this case, the actual bass line (including pedalling) forms an A-G-F sequence:
.
The version with F may be considered an acceptable variant only when performing the piece without accompaniment.
category imprint: Interpretations within context; Differences between sources; Editorial revisions
issues: Errors of A
notation: Pitch