mUltimate Chopin

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

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 43-55

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

..

In this entire fragment, in the R.H. part led mainly in octaves, accidentals before both notes are present only in 3 of them – d1-d2 in bar 44 and 50 and e1-e2 in bar 52. Among the remaining octaves that require the use of accidentals, the majority of them feature an accidental only before the top note, while only three before the bottom note – b1 in bars 53-54 and d2 in bar 54. All necessary accidentals were added by GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

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

b. 45

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

..

In the main text we add cautionary flats to the E-e octave and naturals to the d1-d2 octave.

category imprint: Editorial revisions

b. 46

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

Quaver chord in A, literal reading

Octave & third in A, possible interpretation 

c2 & chord in GE (→FE,IE)

Octave in EE
..

The illogical GE version (→FE,IE), in which the c1-f1-a1 chord at the beginning of the 2nd half of the bar is a crotchet and is assigned to the bottom voice, resulted from a misunderstanding of the A notation, which is actually misleading. The manuscript can be interpreted twofold:

  • The stem under c1 concerns the f1-a1 third, as it was, more or less, in the preceding bar, where the division into parts is clear only due to the dots prolonging the g1-a1 second. Harmonically and pianistically speaking, this version is flawless, yet the chosen kind of notation would be very confusing, which, according to us, reduces the likelihood of it being interpreted correctly.
  • The alleged stem under the c1 note is a side result of the manner of writing notes on ledger lines with a small stroke pointing downwards, to mark the presence of a given note, which otherwise could be imperceptible due to the thickness of the ledger line; this manner is often to be found in Chopin's autographs – cf., e.g. the Mazurka in B minor, Op. 24 No. 4, bar 23. In the Sonata, there are many examples of this kind of notation, e.g. at the end of bar 49 (in the same line, in the R.H.). When interpreted as such, the A notation is unambiguous and simple – the entire chord is supposed to be a quaver. Therefore, we consider it to be the A text and introduce it into the main text.

The EE version probably resulted from an unfinished attempt at correcting the GE notation – the aim was one of the versions described above, yet the middle notes of the chord were not printed.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in EE , Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A

b. 50

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

d1-d2 octave in sources

Octave & third suggested by the editors
..

The comparison with analogous bar 210 suggests that the absence of the e1-g1 minim filling the first octave is due to Chopin's oversight. However, it is not obvious, since in A one can see here traces of erasures corresponding to such a minim. However, according to us, it does not have to mean that Chopin wanted to have here a d1-d2 octave without harmonic filling. It could be that the correction concerned an erroneous or an illegible version of notation that was then to be filled with the aforementioned third; on the other hand, it cannot be excluded that Chopin considered using a different version of the middle voice. Anyway, an unfinished correction seems more likely than a bare octave, which would be against the clear textural plan of the last eight bars. Taking into account the above, in the main text we provide the unquestionable version of bar 210. 

category imprint: Editorial revisions

issues: Corrections in A , Errors resulting from corrections

b. 50

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

..

In the main text we include the cautionary naturals to the D-d octave, added by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions