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b. 1
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composition: (Op. 4), Sonata in C minor, Mvt I
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While writing A, Chopin wrote Op. 3 on the title leaf, as this number was the next available one after the only piece published with an opus number – the Variations in B
category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 1
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In EE1 the missing introductory indications are one of the many oversights in the initial fragment of the Sonata's finale. They were added in EE2. category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 1
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composition: (Op. 4), Sonata in C minor, Mvt III
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The mark entered into A under the stave almost certainly concerns the A category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Errors in EE , FE revisions |
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b. 1
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composition: (Op. 4), Sonata in C minor, Mvt III
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The willingness to avoid the elision of the final vowel of the 'molto' adjective made the revisers of FE and EE commit a mistake – the correct form is 'molta': con molta espressione. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , FE revisions |
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b. 1-4
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composition: (Op. 4), Sonata in C minor, Mvt III
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In EE the Sonata was edited by Brinley Richards; among others, he developed the fingering. We do not include his fingering version in the main text, as it is obviously inauthentic, while in the EE transcriptions we reproduce it using a smaller font in italics, reserved for fingering digits added by editors. In some places, e.g. in bar 12 or 22, the fingering was complemented or changed in EE2. On each page of the transcription, the notes concerning this fingering version can be found by selecting the "Fingering" tab from the "Notation" list. category imprint: Differences between sources issues: EE revisions |
, Op. 2 (Chopin apparently reserved Op. 1 for another composition, most probably the Rondo in C minor). As the Sonata was not eventually published during Chopin's lifetime, the piece's first publisher, Haslinger, provided it with the number 4, which Chopin ended up not using. In mUltimate Chopin, as in the National Edition, we keep this commonly used number, yet we put it in brackets to emphasise the Sonata's separate status among the other compositions with opus numbers: 
in 
