mUltimate Chopin

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

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 113-114

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

 in A (→GE→IE)

Various  in A, different interpretation

Longer  in FE & EE
..

In A the range of the  hairpin in bar 114 is unclear – it starts from the 5th R.H. part quaver or from the syncopated L.H. minim. The comparison with the similarly structured preceding bar supports the latter, which we adopt to the main text. This is how it was reproduced, more or less, in GE (→IE) as well. The prolonged marks in FE and EE resulted from a routine approach of the engravers of these editions.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Scope of dynamic hairpins , FE revisions , Inaccuracies in A

b. 115-116

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

..

In the main text we include the cautionary naturals to c2 and c3 in bar 115 and to d1 and d2 in bar 116, added by GE (→FE,EE,IE).

category imprint: Differences between sources

issues: GE revisions

b. 115-116

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

..

In A Chopin did not write a few necessary accidentals – a  to the top note of the 6th quaver in bar 115 (d3),  to the top notes of the 2nd and 6th quaver in bar 116 (b2 and a2) and a  to the bottom note of the 7th quaver in bar 116 (f1). The patent inaccuracies were corrected in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

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

b. 115

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

Slur from first quaver in A, literal reading

Slur from 3rd quaver in A, possible contextual interpretation

No slur in GE (→FE,EE,IE)
..

In A the slur starts from the 1st quaver in bar 115, yet its initial fragment partly overlaps with the word legato. What is more, one can have the impression that Chopin intentionally added a verbal indication to cover this fragment of the slur. Therefore, it is likely that Chopin wanted to adjust the beginning of the slur to phrasing, which he precisely marked in analogous bar 131, 133 and 135 (as well as in bar 117 and 119, although less carefully). We provide this interpretation in the main text, yet we suggest the literal interpretation as an alternative solution. The absence of the slur in GE (→FE,EE,IE) is due to an oversight by the engraver of GE, who overlooked slurs in the last three bars on the page (bars 115-117).

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , Inaccuracies in A

b. 117-118

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

Slur from 5th quaver in A, literal reading

Łuk from 3rd quaver in A, contextual interpretation

Slur from b. 118 in GE (→FE,EE,IE)
..

category imprint: Differences between sources

issues: Errors in GE