Rhythm
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b. 94
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composition: (Op. 4), Sonata in C minor, Mvt I
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As in bar 59 and 66, in the main text we simplify the Chopinesque notation after similar bar 90 and 92. The original notation can be a remaining element of the abandoned version featuring a repetition of the chord on the 4th crotchet in the bar. category imprint: Editorial revisions |
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b. 96
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composition: (Op. 4), Sonata in C minor, Mvt I
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As Chopin wrote the top voice quavers first, there was no space left for the minim prolonging the sound of the first one. He wrote it only under c2, as the natural and the notehead of the b1 quaver made it impossible to place it closer to the 1st quaver. This misleading notation, suggesting that a category imprint: Graphic ambiguousness; Interpretations within context issues: Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE , Errors repeated in IE |
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b. 104
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composition: (Op. 4), Sonata in C minor, Mvt I
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The consistent complementary rhythm in analogous bar 102 and 66 and 226 suggests that Chopin overlooked the tie to e category imprint: Differences between sources; Editorial revisions issues: GE revisions , Errors of A |
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b. 108
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we keep the A notation, often used by Chopin in his mature works, where he forgoes polyphonic accuracy for the sake of simplicity of notation. The GE notation proves a revision performed in print – quavers with stems pointing downwards were added to the already printed text, compliant with A, in order to rhythmically fill the bottom voice. This illogical notation was changed in all the remaining editions based on GE. category imprint: Differences between sources issues: EE revisions , GE revisions , FE revisions |
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b. 161
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composition: (Op. 4), Sonata in C minor, Mvt I
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The extension of the c quaver introduced by GE (→FE,EE,IE) seems logical if we take into account the notation of similar figures in bars 159-165, in particular these strictly analogous at the beginning of bar 163 and 165. Therefore, one could assume Chopin's oversight if it were not for the visible traces of removal of an element of notation in A, corresponding to the additional c minim. Therefore, in the main text we keep the A notation, probably intended by Chopin. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , GE revisions |
1 should be played again with the c2 quaver, was repeated this way by all editions.
1 repeated in 
