mUltimate Chopin

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

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b. 18-19

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

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In the main text we include the cautionary naturals to c2 added at the beginning of these bars by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 21-22

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

Slurs from a in A, literal reading

Slurs from f in GE (→FE,EE,IE)
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In the main text we include the interpretation of both A slurs adopted by GE (→FE,EE,IE) – see the note on bars 17-20.

category imprint: Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , GE revisions

b. 22

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

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In GE (→FE,EE,IE) a cautionary  was added to e3.

category imprint: Differences between sources

issues: GE revisions

b. 23-26

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

No fingering in A (→GE→FE,IE)

Fingering in EE
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In the main text we omit the inauthentic fingering added by EE in bar 23 and 26. Similarly, in bar 30 and 32, 35, 37-38 and 42.

category imprint: Differences between sources

issues: EE revisions

b. 23

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

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In all sources the 6th L.H. quaver, when interpreted literally, is a b, since it is not preceded by any accidental. The comparison with the analogous motifs in bar 37 and 201 proves Chopin's patent mistake, as he forgot to put a  which would restore b. Bar 37 is particularly significant, in which A does not include a  to this note either, yet in this case its sound is unquestionable due to b2 in the R.H. part.

category imprint: Interpretations within context

issues: Omissions to cancel alteration