mUltimate Chopin

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

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b. 41

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

Slur over 3 quavers in A (→GE→EE,IE)

Slur over 4 quavers in FE
..

Due to asymmetrical alignment of the A slur with respect to the staccato dots, one could assume that it encompasses the entire 2nd half of the bar. However, according to us, Chopin almost certainly envisioned here a slur over the three quavers, as it was interpreted by GE (→EE,IE). The longer FE slur does not have to suggest that the FE editors had access to A, since engravers would often adjust slurs or dynamic hairpins to natural rhythmic groups, for example, groups of notes under one beam.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccurate slurs in A

b. 41

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

Slur from 2nd quaver in A

Slur from 1st quaver in GE (→FE,EE,IE)
..

In the main text we leave the literal interpretation of the A slur, although graphically speaking, it would be justified to consider it an inaccurate half-bar slur – see bars 17-20. In this case the musical argument used there cannot be applied – it is not one of many similar accompanying figures. GE (→FE,EE,IE) approached the slur the same way as in the vast majority of graphically similar situations.
Similarly, in bar 205.

category imprint: Differences between sources

issues: GE revisions

b. 42

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

 in A, literal reading

 in GE (→FE,EE,IE)

Long accent, our alternative suggestion
..

In the main text we provide the literal interpretation of the  mark after A. However, according to us, it could be inaccurate, as it seems that it would be natural for the mark to emphasise the six-four chord at the beginning of the bar, on which the cadence culminates. Due to the above, we consider the GE version (→FE,EE,EE) to be equal; as far as our alternative suggestion is concerned, which is a long accent, we deem it possible as well.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Inaccuracies in GE , Scope of dynamic hairpins

b. 43-46

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we omit the inauthentic fingering added by EE. See also bars 51-53, 55-58 and 60 and 62.

category imprint: Differences between sources

issues: EE revisions

b. 43-48

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

No marks in A

5 wedges in GE (→FE,EE,IE)

4 wedges in EE
..

The wedges present in GE (→FE,IE) over the last octaves in bars 43-45 and 47-48 must have resulted from a misunderstanding – the endings of the stems, sticking out from the beam in A, were confused with wedges. The stems are particularly visible – and misleading – in bars 47-48, yet such thickened endings of vertical lines can easily be found in A in other situations as well, where their insignificant nature is obvious. Taking into account the above, in the main text we do not include these wedges.
EE repeated only 4 out of 5 wedges present in GE – the one in bar 45 was left out.

category imprint: Differences between sources

issues: Errors in EE , Errors in GE , Wedges