mUltimate Chopin

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

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b. 131-138

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

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As in bars 113-122, in the main text we keep the two-quaver beams present in A. In GE (→FE,EE,IE) they were replaced by standard four-quaver beams.

category imprint: Differences between sources

issues: GE revisions

b. 159-162

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

One- or two-part notation in A

Two-part notation in GE (→FE,EE,IE)
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In the main text we keep the "hybrid" notation, typical of Chopin, in which fragments in one-part writing intertwine with the ones in two-part writing. In GE (→FE,EE,IE) it was replaced by "score" writing, with a formally strict division into parts, which Chopin would often avoid due to this method being inadequate for pianistic thinking. 

category imprint: Differences between sources

issues: GE revisions

b. 172

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

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In this bar Chopin used a shorthand form of notation to write the octaves in the L.H. part – only top notes with the words sempre con 8va. In GE (→FE,EE,IE) the octaves were written in full.

category imprint: Differences between sources

issues: GE revisions , Abbreviated octaves' notation

b. 194

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

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Starting from the 2nd crotchet in the bar Chopin used a shorthand form of notation to write the L.H. octaves – top notes only with the words con 8 - - -. In GE (→FE,EE,IE) the octaves were written in full.

category imprint: Differences between sources

issues: GE revisions , Abbreviated octaves' notation

b. 210

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

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In A the 4 L.H. octaves are written in shorthand – only the top notes and the con 8 indication. In GE (→FE,EE,IE) the octaves were written in full.

category imprint: Differences between sources

issues: GE revisions , Abbreviated octaves' notation