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b. 171-174
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composition: (Op. 4), Sonata in C minor, Mvt I
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The range of the L.H. slurs is not entirely clear in A – the slurs in bars 173-174 can be interpreted as slurs encompassing 4 quavers or reaching the first crotchet. The slurs in bars 171-172 are unambiguous – the first was being extended, while the second certainly reaches the e crotchet, which, however, could have gone unnoticed by the engraver, as the ending of the slur behind the natural partially blends in with the stave, hence it is poorly visible. As there is no reason to differentiate between these slurs, we assume that all reach the crotchet at the beginning of the 2nd half of the bar. The interpretation of the slurs by GE (→FE,EE,IE) can be considered an acceptable variant, since it is compliant with the slurs in the majority of similar motifs, e.g. in bars 97-99, 109-110 or 207-208. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 171
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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 F1-F and f2. category imprint: Editorial revisions |
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b. 172-174
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composition: (Op. 4), Sonata in C minor, Mvt I
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Leaving analogous R.H. quaver figures without slurs in bar 172 and 174 seems to have been intended by Chopin, hence in the main text we keep this notation. However, an oversight cannot be completely ruled out, hence the version of the editions featuring slurs can be considered an acceptable variant. category imprint: Differences between sources issues: GE revisions |
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b. 172
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composition: (Op. 4), Sonata in C minor, Mvt I
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We add a cautionary category imprint: Editorial revisions |
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b. 172
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composition: (Op. 4), Sonata in C minor, Mvt I
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In this bar Chopin used a shorthand form of notation to write the octaves in the L.H. part – only top notes with the words sempre con 8va. In GE (→FE,EE,IE) the octaves were written in full. category imprint: Differences between sources issues: GE revisions , Abbreviated octaves' notation |
before g in the main text.