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

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 109-110

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

Long accents in A, possible interpretation

Accent &  in GE (→EE,IE)

2  in FE (our alternative suggestion)
..

The  marks written in A at the beginning of these bars seem to be accents (long), and this is the version we suggest in the main text. However, such an interpretation could be questioned – as the marks are under the stave, it could mean that they are related to the bottom voice, which excludes accents, since in both cases they would concern tied notes. Due to the above, as an alternative solution we suggest short diminuendoes between the crotchets. The differentiated GE marks (→EE,IE) correspond to certain aspects of the A notation, yet, according to us, they are accidental, since there are no musical grounds to interpret these two places differently. FE standardised the marks, which resulted in a version that we suggest as an alternative.

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

issues: Long accents , FE revisions

b. 113-114

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

 in A (→GE→IE)

Various  in A, different interpretation

Longer  in FE & EE
..

In A the range of the  hairpin in bar 114 is unclear – it starts from the 5th R.H. part quaver or from the syncopated L.H. minim. The comparison with the similarly structured preceding bar supports the latter, which we adopt to the main text. This is how it was reproduced, more or less, in GE (→IE) as well. The prolonged marks in FE and EE resulted from a routine approach of the engravers of these editions.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Scope of dynamic hairpins , FE revisions , Inaccuracies in A

b. 129-130

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

No sign in sources

 suggested by the editors
..

In the main text we add a  hairpin after the authentic mark in analogous bars 125-126.

category imprint: Editorial revisions

b. 141-142

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

in A

 in GE (→FE,EE,IE)
..

In the main text we provide a  hairpin whose range we adopted from A. In the editions the mark was arbitrarily extended, spanning almost the entire sequence of thirds. 

category imprint: Differences between sources

issues: GE revisions

b. 142

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

No mark in A, EE & IE

Wedge in GE (→FE)
..

The wedge added by GE (→FE) was arbitrarily inserted by the engraver or the reviser, probably after comparing it with the following bars – in GE the discussed bar opens a page, while the bass octaves in the next three bars are provided with authentic wedges. The review of markings in all similar places – bars 123-130 and 139-146 – allows us to observe that Chopin provided with wedges some of the bass crotchets, but he never used a wedge to mark a quaver.

category imprint: Differences between sources

issues: Errors in EE , GE revisions , Errors in IE