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b. 157

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

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In the main text we add cautionary naturals to the 1st L.H. octave and the 6th R.H. octave.

category imprint: Editorial revisions

b. 158

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

Slur in A, literal reading

Slur in GE (→FE,EE,IE)

Slur suggested by the editors

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The beginning of the slur must be inaccurate in A; however, it is uncertain whether Chopin wanted the ending of the slur to encompass the B1-B crotchet. In the main text we provide a slur reaching this octave, assuming that both endings of the slur are similarly inaccurate in A (too short). However, the version of the editions can be considered an equally valid interpretation of this slur.

category imprint: Graphic ambiguousness

issues: Inaccurate slurs in A

b. 159-162

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

No fingering in A (→GEFE,IE)

Fingering after EE

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In the main text we do not include the inauthentic R.H. part fingering added by EE in bar 159 and 161-162.

category imprint: Differences between sources

issues: EE 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. 160-162

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

Slurs from 2nd quaver to next bar in A

Slur over 2nd halves of bars after GE (→FE,EE,IE)

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The change of the range of slurs introduced by GE (→FE,EE,IE) illustrates the manner of adjusting slurs (and dynamic hairpins) to easily perceptible rhythmic structures, in this case halves of bars.

category imprint: Differences between sources

issues: GE revisions