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b. 201-204
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the inauthentic R.H. part fingering added by EE in bar 201 and 204. category imprint: Differences between sources issues: EE revisions |
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b. 202
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A one can see traces of removal of the g2 minim in the 1st chord and of the f category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 202
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A the arpeggio wavy line is written on the right of the chord, which, according to us, does not influence the meaning of this mark. We reproduce this notation only in the graphic transcription (version "transcript"). The editions placed the mark in its regular position, before the chord. This kind of notation is to be occasionally found in other pieces by Chopin, e.g. in the Polonaise in C minor, Op. 40 No. 2, bar 52. Similarly, in bar 215, as well as in IV mov. of the Sonata, bar 6. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Inaccuracies in A |
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b. 203
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A the L.H. slur in the 1st half of the bar encompasses only the 2nd and 3rd quaver. It is almost certainly one of the more glaring examples of the inaccurate notation in this autograph (in this respect), hence to the main text we adopt the editions' interpretation of this slur. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , GE revisions |
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b. 205
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composition: (Op. 4), Sonata in C minor, Mvt I
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As in analogous bar 41, in the main text we leave the literal interpretation of the A slur. In GE (→FE,EE,IE) it was routinely adjusted to the half-bar quaver group. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions |
2 crotchet in the second one.
in 
