mUltimate Chopin

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

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 82-84

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

 in A, literal reading

 in GE (→FE,EE,IE)

Long accents suggested by the editors
..

It is unclear how the 4  marks present in A should be interpreted. A series of diminuendoes cannot be reconciled with the upcoming climax in bar 86, emphasised by the crescendo indication, which makes us doubt the accuracy of this standard interpretation. According to us, these marks are most probably long accents, the shape of which was not yet fully developed in the notation of young Chopin (their form in his later works is different). 

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , GE revisions

b. 82

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

Wedge in A

No mark in GE (→FE,EE,IE)
..

The missing wedge in GE (→FE,EE,IE) must be an oversight by the engraver of GE, caused by the proximity of this mark to .

category imprint: Differences between sources

issues: Errors in GE

b. 84-85

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

No mark in A

Staccato dot in GE (→FE,EE,IE)
..

The missing staccato mark in A seems to be Chopin's inadvertence, as he overlooked the first chord, separated from the remaining ones by the treble clef and positioned much higher than the following ones. In the main text we include the addition introduced already by GE (→FE,EE,IE).

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: GE revisions , Wedges , Inaccuracies in A

b. 102

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

Staccato dots in A

No dots in GE (→FE,EE,IE)

Our variant suggestion
..

The staccato dots probably represent the initial version of articulation of these crotchets, which Chopin replaced with slurs. It is indicated by the A notation in bar 104, in which the dots over the 2nd and 3rd crotchet were overwritten with a slur (leaving the dot over the 4th crotchet must be considered an oversight in this situation). In the discussed bar all 3 dots present along with slurs remained unremoved, hence in the main text we provide them in a variant form (in brackets). Being convinced of our hypothesis, one can choose the version of the editions, devoid of these dots.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Partial corrections

b. 108

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

in A

2  in GE (→FE,EE,IE)
..

The doubled, moved and prolonged  hairpin resulted from an arbitrary decision by the engraver of GE (→FE,EE,IE). The first two changes probably originated from the changes in the arrangement of the R.H. part voices – see the next note. In the main text we keep the A notation.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions