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

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b. 79

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

e in A

e in GE (→FE,EE,IE)

e (with ) suggested by the editors
..

The  raising e to e added by GE (→FE,EE,IE) resulted from a routine revision, locally adjusting the L.H. chord sound to the g1-e2 sixth in the R.H. (cf. a similar revision in GE1 in the Etude in A minor, Op. 10 No. 2, bar 7). In fact, despite the temporary presence of the key of C major in bars 75-77, the general key is still C minor (from bar 73 on), while e2 is a transitory note. Therefore, in the main text we leave e, present in A, adding a cautionary  to this note to avoid any misunderstanding.

category imprint: Differences between sources

issues: GE revisions

b. 80

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

No slurs, 2 beams in A

No slurs, 1 beam in GE (→FE,EE,IE)

2 slurs, 2 beams suggested by the editors
..

In the 1st half of the bar, in the main text we reproduce the A beaming, according to which the quavers are grouped in pairs (it was disregarded by the editions). It probably indicates that one should continue the articulation marked in the preceding bar by slurs, hence we suggest adding analogous slurs. 

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE

b. 81

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

Slur in A, contextual interpretation

2 slurs in GE

2 slurs in FE & EE

Slur & tie in EE
..

The A slur in the 1st half of the bar is written under the top voice quavers; when interpreted literally, it seems that it starts from the second one (c2) or from the g1 minim. It must be Chopin's inaccuracy – cf. numerous appearances of this motif, e.g. in the 2nd half of the bar – hence we interpret it as a half-bar slur concerning the top voice. This is how this slur was interpreted by GE; however, it was mistakenly reproduced there twice – over the quavers and almost horizontally under the quavers, which makes it resemble a tie to g1. In the remaining editions both slurs were repeated, but it was assumed that the bottom slur/tie refers to the bottom voice minims, which resulted in two completely arbitrary versions – with a slur concerning g1-f1 in FE and IE and with a tie to g1 in EE.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccurate slurs in A , Errors in GE , FE revisions

b. 82-84

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

 in A, literal reading

 in GE (→FE,EE,IE)

Long accents suggested by the editors
..

It is unclear how the 4  marks present in A should be interpreted. A series of diminuendoes cannot be reconciled with the upcoming climax in bar 86, emphasised by the crescendo indication, which makes us doubt the accuracy of this standard interpretation. According to us, these marks are most probably long accents, the shape of which was not yet fully developed in the notation of young Chopin (their form in his later works is different). 

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , GE revisions

b. 82

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

Wedge in A

No mark in GE (→FE,EE,IE)
..

The missing wedge in GE (→FE,EE,IE) must be an oversight by the engraver of GE, caused by the proximity of this mark to .

category imprint: Differences between sources

issues: Errors in GE