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b. 124
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composition: (Op. 4), Sonata in C minor, Mvt I
..
In A (→GE→EE1,IE) there is no accidental to the bottom note of the 1st third in the 2nd half of the bar, which results in e category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Errors of A , FE revisions , Errors repeated in GE , Errors repeated in EE |
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b. 124
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composition: (Op. 4), Sonata in C minor, Mvt I
..
The fact that the A slur ends already on the 6th quaver in the bar is musically unjustified. This is confirmed by the comparison with similar figures, e.g. in bar 126. Due to the above, to the main text we adopt a slur led to the 7th quaver, as in GE (→FE,EE,IE). category imprint: Differences between sources; Editorial revisions issues: Inaccurate slurs in A , GE revisions |
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b. 124
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composition: (Op. 4), Sonata in C minor, Mvt IV
..
In A at the beginning of the 2nd half of the bar the category imprint: Interpretations within context; Differences between sources issues: GE revisions , Omission of current key accidentals , Errors of A |
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b. 124
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composition: (Op. 4), Sonata in C minor, Mvt IV
..
The mark visible in A over the d category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A |
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b. 124
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composition: (Op. 4), Sonata in C minor, Mvt IV
..
When interpreted literally, the A slur reaches the last note in the bar. However, in the next bar, in a new line, the slur clearly shows that it should have been continued, which is also confirmed by the slurs in the similar situations in bars 126-127 and 128-130. This ambiguous notation was reproduced in GE and EE2 (in EE1 the slur was omitted). In FE and IE there is a continuous slur, in accordance with our interpretation. category imprint: Graphic ambiguousness |
2. What is more, 2 quavers later we see a 
to e2, which seems to confirm e
to the R.H. top voice crotchet is missing. Chopin's patent oversight was corrected in 
