mUltimate Chopin

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

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Pitch

b. 147-158

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

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In these bars it is only the top notes of the octaves that are provided with accidentals in A. This simplified notation was supplemented in GE (→FE,EE,IE) by adding all the missing accidentals.

category imprint: Interpretations within context; Differences between sources

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

b. 152

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

c2 w A

c2 in GE (→FE,EE,IE)
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The version featuring c2 introduced by GE (→FE,EE,IE) must be erroneous. Bars 151-153 are filled with a dialogue between diatonic motifs in the keys of E minor/G major, setting the stage for the transition towards the key of D major abounding in altered leading tones (bars 154-155). Nothing suggests that Chopin would have wanted to disrupt the tonal stability with a temporary allusion to the key of B minor already in the discussed bar.

category imprint: Differences between sources

issues: GE revisions

b. 153

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

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In the main text we omit the  to c2 in the 2nd half of the bar, repeated without any apparent justification.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 154

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

a2-c3 in A, contextual interpretation

c3-c3 in GE (→FE,EE,IE)
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The way the 3rd quaver in the bar was written down in A is unclear – one can see a protrusion before the c3 minim, resembling a quaver notehead at the same pitch, while the presence of an a2 quaver is unobvious, since the protrusion of the stem indicating the presence of a notehead is imperceptible. Consequently, in GE (→FE,EE,IE) both voices coincide on c3, while a2 is totally absent. In the main text we provide a different interpretation of the A notation – we consider the c3 quaver a remaining element of the initial version (or erroneous) of notation without the note having been prolonged, while in the bottom voice we put a2, which – as resulting in a more natural melodic sequence in this voice – is, according to us, written here.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors resulting from corrections , Inaccuracies in A

b. 157

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

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In the main text we add cautionary naturals to the 1st L.H. octave and the 6th R.H. octave.

category imprint: Editorial revisions