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
Articulation, Accents, Hairpins
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Articulation, Accents, Hairpins

b. 42

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

 in A, literal reading

 in GE (→FE,EE,IE)

Long accent, our alternative suggestion
..

In the main text we provide the literal interpretation of the  mark after A. However, according to us, it could be inaccurate, as it seems that it would be natural for the mark to emphasise the six-four chord at the beginning of the bar, on which the cadence culminates. Due to the above, we consider the GE version (→FE,EE,EE) to be equal; as far as our alternative suggestion is concerned, which is a long accent, we deem it possible as well.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Inaccuracies in GE , Scope of dynamic hairpins

b. 43-48

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

No marks in A

5 wedges in GE (→FE,EE,IE)

4 wedges in EE
..

The wedges present in GE (→FE,IE) over the last octaves in bars 43-45 and 47-48 must have resulted from a misunderstanding – the endings of the stems, sticking out from the beam in A, were confused with wedges. The stems are particularly visible – and misleading – in bars 47-48, yet such thickened endings of vertical lines can easily be found in A in other situations as well, where their insignificant nature is obvious. Taking into account the above, in the main text we do not include these wedges.
EE repeated only 4 out of 5 wedges present in GE – the one in bar 45 was left out.

category imprint: Differences between sources

issues: Errors in EE , Errors in GE , Wedges

b. 45

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

No marking in A

Slur in GE (→FE,EE,IE)

Our variant suggestion
..

According to us, the fact that one of 5 analogous motifs was left without a slur can be ascribed to Chopin's oversight in A, hence in the main text we suggest adding a slur. It was also added by GE (→FE,EE,IE). See also the note on bars 43-48.

category imprint: Differences between sources; Editorial revisions

issues: Errors in EE , GE revisions

b. 71-72

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

2 times slur & wedge, and 7 slurs in A

2 times slur & wedge, and 12 slurs, our alternative suggestion

14 times slur & dot in GE (→FE,EE,IE)
..

In A Chopin marked the beamed pairs of quavers (7 in the R.H. and 7 in the L.H.) in three ways:

  • A slur and a wedge in the first two R.H. pairs. The type of the used staccato marks is uncertain; we provide wedges due to them being outside the slur – Chopin would write dots generally within slurs, see, e.g. bar 91, 93 and 98-99.
  • Slurs in the remaining R.H. pairs and in the first two L.H. pairs.
  • No marks in the remaining L.H. pairs.

According to us, these differences do not mean that the pairs should be performed differently than in the case of the first two pairs (the performance of which is marked most carefully). However, they could suggest certain details – stronger articulation in the R.H. (than in the L.H.) and in the first two pairs (than in the remaining ones). Therefore, in the main text we keep this version of notation. As an alternative solution, we suggest a version with added L.H. slurs, as a literal performance of the L.H. part, without combining the quavers in pairs, could have adversely affected the nature of the music.

In GE (→FE,EE,IE) the notation was fully standardised – each pair of quavers was provided with a slur and a staccato dot, in both hands. This solution is not devoid of rational grounds, yet it cannot be authentic; moreover, as we described it above, the suggested performance is standardised to a greater extent than in Chopin's text.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions , Wedges

b. 73-74

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

No marks in A

Staccato dots in GE (→FE,EE,IE)
..

There is no reason to underline here the discontinuity of particular motifs with staccato marks modelled after the preceding two bars – although the hand needs to be moved, the two-bar slur encompassing this entire passage shows that Chopin wanted the phrase to be cohesive (this phrase only seemingly refers to the preceding one). In the main text we do not include the staccato dots introduced by GE (→FE,EE,IE).

category imprint: Differences between sources

issues: GE revisions