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

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b. 164-165

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

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In A (→GE→FE,EE) the  to g2 in bar 164 is missing. The patent inaccuracy was corrected only in IE.
In A in bar 165 there is a  to c3, unnecessarily repeated. The accidental was removed in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Cautionary accidentals , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE ,

b. 166

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

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Chopin wrote a cautionary  to the 3rd quaver, e1. In the main text we also add a  to the 4th quaver, c1. By contrast, we do not include the  added by GE (→FE,EE,IE) to c3 in the R.H.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

b. 170

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

c1 & c2 in A (→GE→EE1), contextual interpretation

c1 & c2 in FE

c1 & c2 in IE & EE2

c1 (with ) & c2 suggested by the editors
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The sound of the 4th L.H. quaver and the 6th R.H. quaver may be questionable, which is evidenced by, e.g. the revisions of FE and IE and EE2, going in the opposite direction. According to us, both the harmonic context (F major chord as a resolution of the seventh chord constituting the harmonic basis in this bar) and the R.H. figuration melodic structure (Chopin would generally use bottom foreign notes a semitone away from chord tones, hence in this case e2 on the 4th quaver and c2 on the sixth one) make a very strong case for them to be read as c1 and c2, which we emphasise in the main text with a cautionary  to c1.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions ,

b. 170

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

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In the main text we omit the unjustified cautionary  to e2, present in all sources.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 171-174

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

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In bar 171 and 173-174 Chopin was consistent in the use of accidentals when writing L.H. octaves in A, which means that he put them only to the top notes. This simplified notation was complemented by GE (→FE,EE,IE), where all the omitted accidentals were added.

category imprint: Interpretations within context; Differences between sources

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