b. 62
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we suggest adding an ornament [] after analogous bar 220 and 222 and most probably also bar 60. As in the remaining bars, we specify the top note as d2. category imprint: Editorial revisions |
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b. 63-65
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the inauthentic fingering added by EE in bar 63 and 65. Similarly, in bars 67-69. category imprint: Differences between sources issues: EE revisions |
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b. 64
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composition: (Op. 4), Sonata in C minor, Mvt I
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The comparison with analogous bar 224 suggests that the missing tie to d2 is due to Chopin's oversight. In the main text we suggest adding this tie. category imprint: Editorial revisions issues: Errors of A |
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b. 64
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composition: (Op. 4), Sonata in C minor, Mvt I
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When interpreted literally, the A slur starts from the 2nd quaver. It must be an inaccuracy, resulting from the inability to write a longer slur without crossing the , which could make the manuscript ambiguous here. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 65
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composition: (Op. 4), Sonata in C minor, Mvt I
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It is difficult to say whether the earlier starting point of the octave sign in the editions resulted from a mistake or from a revision in GE. The mistake is supported by the absence of a corresponding correction in the recapitulation (bar 225), whereas the revision – by the pianistic ease of the changed version, in which the hand is to be moved not under the slur, but after the note provided with the staccato mark. Anyway, the A version does not contain a mistake, since this is how Chopin wrote this place twice – here and in bar 225. Such large intervals provided with a slur are to be found in other pieces by Chopin, cf., e.g. the Concerto in E minor, Op. 11, I mov., bar 391. category imprint: Differences between sources issues: Errors in GE , GE revisions |