mUltimate Chopin

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

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b. 45-48

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

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In A it is unclear whether the L.H. slurs in bar 45 and 47-48 encompass 4 quavers or whether they reach the first crotchet. As in bars 207-208, which are identical with bars 47-48, the slurs clearly reach only the 4th quaver, this is the interpretation we adopt in this case as well. The same interpretation was adopted by GE (→FE,EE,IE).

category imprint: Graphic ambiguousness

issues: Inaccurate slurs in A

b. 46

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

Quaver chord in A, literal reading

Octave & third in A, possible interpretation 

c2 & chord in GE (→FE,IE)

Octave in EE
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The illogical GE version (→FE,IE), in which the c1-f1-a1 chord at the beginning of the 2nd half of the bar is a crotchet and is assigned to the bottom voice, resulted from a misunderstanding of the A notation, which is actually misleading. The manuscript can be interpreted twofold:

  • The stem under c1 concerns the f1-a1 third, as it was, more or less, in the preceding bar, where the division into parts is clear only due to the dots prolonging the g1-a1 second. Harmonically and pianistically speaking, this version is flawless, yet the chosen kind of notation would be very confusing, which, according to us, reduces the likelihood of it being interpreted correctly.
  • The alleged stem under the c1 note is a side result of the manner of writing notes on ledger lines with a small stroke pointing downwards, to mark the presence of a given note, which otherwise could be imperceptible due to the thickness of the ledger line; this manner is often to be found in Chopin's autographs – cf., e.g. the Mazurka in B minor, Op. 24 No. 4, bar 23. In the Sonata, there are many examples of this kind of notation, e.g. at the end of bar 49 (in the same line, in the R.H.). When interpreted as such, the A notation is unambiguous and simple – the entire chord is supposed to be a quaver. Therefore, we consider it to be the A text and introduce it into the main text.

The EE version probably resulted from an unfinished attempt at correcting the GE notation – the aim was one of the versions described above, yet the middle notes of the chord were not printed.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in EE , Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A

b. 50

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

d1-d2 octave in sources

Octave & third suggested by the editors
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The comparison with analogous bar 210 suggests that the absence of the e1-g1 minim filling the first octave is due to Chopin's oversight. However, it is not obvious, since in A one can see here traces of erasures corresponding to such a minim. However, according to us, it does not have to mean that Chopin wanted to have here a d1-d2 octave without harmonic filling. It could be that the correction concerned an erroneous or an illegible version of notation that was then to be filled with the aforementioned third; on the other hand, it cannot be excluded that Chopin considered using a different version of the middle voice. Anyway, an unfinished correction seems more likely than a bare octave, which would be against the clear textural plan of the last eight bars. Taking into account the above, in the main text we provide the unquestionable version of bar 210. 

category imprint: Editorial revisions

issues: Corrections in A , Errors resulting from corrections

b. 50

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

Slur to crotchet in A

Slur to quaver in GE (→FE,EE,IE)
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In the main text we provide the A slur, clearly led to the E-e crotchet at the beginning of the 2nd half of the bar. The shorter slur in the editions resulted from the inaccuracy of the engraver of GE or perhaps from a routine revision, adjusting the slur to a typical rhythmic group.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 50

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

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In the main text we include the cautionary naturals to the D-d octave, added by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions