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b. 239-241

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we do not include the inauthentic fingering concerning the L.H. octaves, added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 239-240

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

Slurs in A (→GE→EE), literal reading

Ties in FE & IE

Ties, our alternative suggestion
..

The meaning of the 3 slurs/ties in bar 239 visible in A (→GE→EE) is unclear, since they are not continued in the next bar, which opens a new line. One can see them as "tenuto-slurs", sometimes found in Chopin's autographs or as unfinished ties (to e1 and c2) and an articulation-motivic slur (the third slur, the middle one). According to us, the second possibility is more likely – overlooked endings of the ties and the slur – and this is the version, introduced also by FE and IE, that we provide in the main text. An alternative suggestion would be a version of notation facilitating the interpretation, in which the middle slur was omitted, suggesting that a1 should be tied as well.

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

issues: FE revisions , Uncertain slur continuation , Tenuto slurs ,

b. 239-240

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

Slur to c1 in A, contextual interpretation

Slur to a in GE (→FE,IE) & EE2

No slur in EE1
..

The range of the A slur is uncertain – in bar 239, at the end of a line, the slur suggests that it should be continued, yet in bar 240 there is no ending thereof. As was the case with the R.H. slur, we interpret the ending of the slur as reaching the end of the passage (the c1 crotchet), and this is the slur we provide in the main text.
The absence of the slur in EE1 is due to the engraver's mistake, corrected in EE2.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Errors in EE , Uncertain slur continuation , Inaccuracies in A

b. 239

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

to 6th quaver in A

 to 8th quaver in GE (→FE,EE,IE)
..

Due to the diminuendo in the next bar, the longer GE mark (→FE,EE,IE) could be considered more natural, in the main text we reproduce the  hairpin after A. Practically speaking, this difference is hardly of consequence.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 239

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

..

The natural to the last quaver (a), omitted in A, was added in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

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