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b. 101
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we add 4 cautionary naturals – to F-f and f1 at the beginning of the bar and to g1 in the 2nd quaver. category imprint: Editorial revisions |
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b. 102
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composition: (Op. 4), Sonata in C minor, Mvt I
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The staccato dots probably represent the initial version of articulation of these crotchets, which Chopin replaced with slurs. It is indicated by the A notation in bar 104, in which the dots over the 2nd and 3rd crotchet were overwritten with a slur (leaving the dot over the 4th crotchet must be considered an oversight in this situation). In the discussed bar all 3 dots present along with slurs remained unremoved, hence in the main text we provide them in a variant form (in brackets). Being convinced of our hypothesis, one can choose the version of the editions, devoid of these dots. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Partial corrections |
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b. 103
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the L.H. part there is only one category imprint: Interpretations within context; Differences between sources issues: Errors of A |
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b. 104-107
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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 R.H. part fingering added by EE in bar 104 and 106-107. See also bar 112 and 115-116 and 118-120 and 123-124. category imprint: Differences between sources issues: EE revisions |
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b. 104
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composition: (Op. 4), Sonata in C minor, Mvt I
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The consistent complementary rhythm in analogous bar 102 and 66 and 226 suggests that Chopin overlooked the tie to e category imprint: Differences between sources; Editorial revisions issues: GE revisions , Errors of A |
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