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b. 236-237

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

8- - - in A

No marking in GE (→FE,EE,IE)
..

The absence of the octave sign in the editions is certainly due to a mistake by the engraver of GE1, who overlooked other elements in these bars as well – a note in bar 236 and a quaver flag and a rest in bar 237.

category imprint: Differences between sources

issues: Errors in GE

b. 236

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

 &  in A, literal reading

2 long accents in GE

2 long accents in EE & IE

3 long accents in FE

2 long accents suggested by the editors
..

Two marks in the form of a hairpin – accents or short diminuendoes – visible in A are difficult to interpret. Neither the nature of the marks (an accent or a diminuendo) nor the stave they should concern are clear. The same can be said of rhythmic synchronisation – the beginning of the mark may be linked to the 2nd (6th) quaver in the bar or the 3rd (7th) quaver. As the A version we reproduce the graphic image of the manuscript (as far as possible). On the other hand, in the main text we provide the most likely, according to us, contextual interpretation, in which we consider both marks to be the continuation of the three long accents over the L.H. minims in the previous bars. Another possibility, although less likely, could be the way these marks were interpreted by GE and a variation of this interpretation adopted by EE and IE (which are surprisingly consistent considering the fact they were created independently). In FE, to the two signs between the staves (in the EE and IE arrangement) a third one was arbitrarily added, under the last L.H. crotchet.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , FE revisions , Inaccuracies in A ,

b. 236

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

b1 in A (→GE→EE1,IE), literal reading

b1 in FE & EE2
..

It seems highly unlikely that the literal interpretation of the A version (→GE,EE1,IE) could have been intended by Chopin, particularly since the issue indirectly concerns also the pitch of the last quaver in the bar (b2 or b2?). Since bar 229, the key of F has been valid, while the harmonic sequence is aimed at its unambiguous confirmation in bars 239-241. In this context, the use of a C7< chord would be highly unconventional, especially considering the harmonic language of the Sonata. Therefore, in the main text we include the correction introduced by FE and EE2, resulting in a dominant chord with minor seventh, most natural in this context.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Omissions to cancel alteration , Errors of A , FE revisions

b. 236

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

Slurs from 2nd & 6th quaver in A, literal reading

2 slurs from 1st & 5th quaver in GE (→EE,IE)

Slur from 5th quaver in FE
..

Both slurs in A are most probably inaccurate – cf. I mov., bars 17-20. In the main text we include their interpretation adopted by GE (→FE,EE,IE). The lack of the first slur is probably an oversight by the engraver of FE.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Errors in FE , Inaccurate slurs in A , GE revisions

b. 236

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

..

In EE1 the  raising b to b was overlooked. It was added in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE