Regarding the magic I'm talking about at the enharmonic modulation (see my prior post), it is about attitude that sneaks its way into performance. This is very psychological and could never be proven "scientifically" but we're talking about art here. How real is it? For me it is VERY real! How real would it be to an auditor? That would be an interesting test. An educated audience is asked to listen to this work performed by ten pianists (half of which in their mind play an F# chord instead of the Gb. Would the auditors (who know that some will play F# major and the others the enharmonic) be able to tell a difference in the approach? I must admit, probably not. But that doesn't change my mind that when I play the first two notes of the Beethoven Op.57 (C-Ab) I do so in my head over a "silent" Dominant 7th chord, not the tonic chord! The difference is that I feel like I'm playing it lifting off the seat with infused energy, rather than sinking back into a comfortable chair. For me, the enharmonic modulation to the "B" section of this Impromptu, requies a REAL dominant to propel the music into it, not some sappy Gb major chord to sneak into it sideways. Having said all this, it may only affect those who are in a masterclass audience and getting their idea changed too, but I will continue to "live in my own little world." The difference is editions (taken as legitimate) only raises the notion that we can take more liberties than we think we can in interpreting the work.