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b. 125-129

composition: (Op. 4), Sonata in C minor, Mvt I

..

In A Chopin wrote accidentals only to the top notes of the bass octaves in bars 125-126 and 128-129. All missing accidentals were added by GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 125-126

composition: (Op. 4), Sonata in C minor, Mvt IV

Slur to C in A

Slur to E in GE (→FE,EE,IE)
..

The A slur reaches almost the bar line, yet its shape rather does not suggest that it was intended to be led to E, as it was reproduced in GE (→FE,EE,IE). Cf. the slurs in bar 127 and 130.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 125

composition: (Op. 4), Sonata in C minor, Mvt IV

Staccato dots in A & EE2

Wedges in GE (→FE,IE)

No marks in EE1
..

The staccato marks over the top voice crotchets entered into A, although slightly prolonged, do not resemble typical wedges – cf., e.g. bars 104-107. The absence of the marks in EE1 is due to the engraver's mistake, arbitrarily corrected in EE2 (the coincidence with the A notation must be accidental).

category imprint: Differences between sources

issues: Inaccuracies in GE , Wedges

b. 125-128

composition: Op. 12, Variations in B♭ major

Wedges in FE (→EE)

Staccato dots in GE
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Most of the wedges present in FE (→EE) were arbitrarily changed to staccato dots in GE – see the note in bar 7. As the change covers all wedges included in GE, we consider the version of this edition to be one variant, on this page encompassing generally 5 marks in bar 121 and 123, 126 and 125 and 128, yet we discuss the first two groups of bars separately due to other source issues – see the notes in bar 121 and 126.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 125-127

composition: Op. 12, Variations in B♭ major

Slurs from 4th & 5th quaver in FE (→GE,EE)

Slurs from 4th quaver suggested by the editors

Slurs from 5th quaver, our alternative suggestion
..

Taking into account the similarities between bar 125 and 127, it seems highly likely that Chopin wanted the L.H. slurs to be of the same range. However, the slur in bar 125 clearly starts from the quaver at the beginning of the 2nd half of the bar, while the respective slur in bar 127, clearly inaccurate, begins somewhere between the last two thirds in the top voice. This inaccuracy must have resulted from the layout, in which the 4th quaver in the bar and the L.H. top voice are written on the top stave, under the R.H. part, which makes it impossible to begin a slur earlier. Therefore, we assume that, following the principle of minimal intervention in the source notation, it indicates a slur running from the accented f1-a1 third. In this quasi-literal interpretation of the sources, the slurs in both phrases are not identical. Therefore, in the main text in bar 127 we provide a slur running from the quaver at the beginning of the 2nd half of the bar, in accordance with the slur in bar 125. As an alternative solution we suggest slurs from the 5th quaver of the bar in both places, which can be regarded as a contextual interpretation of the discussed places.

category imprint: Graphic ambiguousness; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies