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

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Verbal indications

b. 179

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

 &  in A, literal reading

 in A (contextual interpretation→GE→FE,EE,IE)

 in A, possible interpretation
..

The presence of two mutually exclusive dynamic indications in A can be explained by an unfinished correction – Chopin first wrote one indication and then the other one, probably planning to erase the first one together with the other marks that were supposed to be removed (e.g. the staccato dots in bar 102 or  in bar 155). However, the corrections remained unfinished, hence it is uncertain whether Chopin wanted to restore , in accordance with the dynamics at the beginning of the Sonata, or to introduce , which would provide the recapitulation with a different expressive nuance. According to us, the first possibility is more likely, hence in the main text we provide . A similar conclusion was reached by the reviser of GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , GE revisions , Errors of A

b. 195

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

No indication in sources

[espressivo] suggested by the editors
..

In the main text we suggest adding the espressivo indication after the analogous one in the exposition (bar 17).

category imprint: Editorial revisions

b. 231-239

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

con forza in b. 231-232 in A, contextual interpretation

con forza in b. 239 in A (possible interpretation→GE→FE,EE,IE)
..

The con forza indication is written in A between the bottom stave in bars 231-232 and the top stave in bar 239. Under this indication, and over the R.H. part in bar 239, one can see traces of removal of a mark, probably a verbal indication or, e.g. . This suggests that Chopin changed his mind and replaced the deleted mark by con forza (added over it). This is how it was interpreted by GE (→FE,EE,IE). However, according to us, it is likely that the erasure was not related to con forza, which could have been added earlier and concerned the L.H. octave phrase in bars 231-232. Such an interpretation is strongly supported by the comparison with bars 73-74, in which an almost identical L.H. phrase is provided with con forza. Taking into account the fact that this indication suits bars 231-232 much better (musically speaking), to the main text we adopt the second interpretation.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Corrections in A , Inaccuracies in A