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

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b. 168

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

Notation in A, literal reading

A (probable interpretation→GE→FE,EE,IE)

A, possible interpretation
..

In the 1st half of the bar Chopin wrote in A two versions of the harmonic legato, overlapping – holding B as a crotchet and f as a double-dotted crotchet (as at the beginning of the next bar) and holding B as a minim (as in the remaining adjacent figures). These versions were probably entered at a different time with the intention of one replacing the other, which Chopin eventually forgot to do. To the main text we adopt the second version, which more naturally combines with the authentic half-bar pedal; we suggest the first one – after removing the erroneous 2nd dot prolonging the f crotchet – as an alternative solution. The version as in our main text is also to be found in the first editions.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Corrections in A , Errors resulting from corrections , GE revisions , Rhythmic errors , Errors of A

b. 170

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

f3 repeated in A, original notation

f3 tied in GE (→FE,EE,IE)

f3 repeated, notation suggested by the editors
..

The A notation is overly complicated here (perhaps due to corrections), which hampers the interpretation. In the main text we replace it by a version that clearly shows which notes are to be played and how long they are to be held. This kind of notation, in which one key press corresponds to – if possible – one note, was willingly used by Chopin, cf., e.g. bar 80, L.H. or IV mov., bar 386, R.H. In GE (→FE,EE,IE) the A version with a tie to d3 was arbitrarily supplemented with a tie to f3, as a result of which the note on the 3rd quaver in the bar was not played.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 170

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

c1 & c2 in A (→GE→EE1), contextual interpretation

c1 & c2 in FE

c1 & c2 in IE & EE2

c1 (with ) & c2 suggested by the editors
..

The sound of the 4th L.H. quaver and the 6th R.H. quaver may be questionable, which is evidenced by, e.g. the revisions of FE and IE and EE2, going in the opposite direction. According to us, both the harmonic context (F major chord as a resolution of the seventh chord constituting the harmonic basis in this bar) and the R.H. figuration melodic structure (Chopin would generally use bottom foreign notes a semitone away from chord tones, hence in this case e2 on the 4th quaver and c2 on the sixth one) make a very strong case for them to be read as c1 and c2, which we emphasise in the main text with a cautionary  to c1.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions ,

b. 170

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

..

In the main text we omit the unjustified cautionary  to e2, present in all sources.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 171-174

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

..

In bar 171 and 173-174 Chopin was consistent in the use of accidentals when writing L.H. octaves in A, which means that he put them only to the top notes. This simplified notation was complemented by GE (→FE,EE,IE), where all the omitted accidentals were added.

category imprint: Interpretations within context; Differences between sources

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