mUltimate Chopin

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

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b. 146

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

Slur to 5th quaver in A, literal reading

Slur to 8th quaver in GE (→FE,EE,IE)

Slur to 7th quaver suggested by the editors
..

As was the case 2 bars ago, one can be certain that the A slur is inaccurate, hence in the main text we suggest a slur whose range results from the comparison of analogous figures. The longer slur of the editions can be considered an equal variant.

category imprint: Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , GE revisions

b. 147-158

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

..

In these bars it is only the top notes of the octaves that are provided with accidentals in A. This simplified notation was supplemented in GE (→FE,EE,IE) by adding all the missing accidentals.

category imprint: Interpretations within context; Differences between sources

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

b. 148-153

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

Slurs in A, literal reading

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

Pianistically and musically speaking, it is obvious what slurs should be used in bars 147-153, mostly build of three-note motifs; it is confirmed by the group of several dozen A slurs, undoubtedly encompassing entire motifs. Nevertheless, in A we can find a number of inaccuracies in the remaining figures:

  • overlooked slurs – in bar 148 the first one in the L.H., in bar 152 the second one in the R.H., in bar 153 all three (we discuss the issue concerning the slur over the octave sequence beginning at the end of this bar separately);
  • L.H. slurs encompassing two out of three quavers – at the end of bar 148 and 149 and in the middle of bar 151 and 152;
  • slurs concerning the entire motif yet too short on one or the other side and sometimes on both sides, e.g. the last L.H. slur in bar 152.

In the main text we standardise the slurs concerning these motifs in accordance with what was already carried out in GE (→FE,EE,IE).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 150-155

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

No fingering in A (→GE→FE,IE)

Fingering in EE1

Fingering in EE2
..

In the main text we omit the inauthentic R.H. part fingering added by EE1 in bar 150, while in EE2 also between bars 154-155.

category imprint: Differences between sources

issues: EE revisions

b. 152

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

c2 w A

c2 in GE (→FE,EE,IE)
..

The version featuring c2 introduced by GE (→FE,EE,IE) must be erroneous. Bars 151-153 are filled with a dialogue between diatonic motifs in the keys of E minor/G major, setting the stage for the transition towards the key of D major abounding in altered leading tones (bars 154-155). Nothing suggests that Chopin would have wanted to disrupt the tonal stability with a temporary allusion to the key of B minor already in the discussed bar.

category imprint: Differences between sources

issues: GE revisions