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b. 157
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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 |
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b. 158
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composition: (Op. 4), Sonata in C minor, Mvt I
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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 B category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
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b. 159-162
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composition: (Op. 4), Sonata in C minor, Mvt I
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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 |
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b. 159-162
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composition: (Op. 4), Sonata in C minor, Mvt I
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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 |
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b. 160-162
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composition: (Op. 4), Sonata in C minor, Mvt I
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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 |