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b. 233-235
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composition: (Op. 4), Sonata in C minor, Mvt I
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According to us, the marks visible in A over the three L.H. minims are to be interpreted – despite the small differences in their shape and position – as long accents referring to these syncopated L.H. chords. The editions reproduced correctly (more or less) only the 2nd and 3rd mark as short accents under the L.H. minims. By contrast, the mark in bar 233 was assigned to the R.H. and, more importantly, moved a quaver earlier, which is clearly contrary to the A notation. A similarly placed, wrong mark is also in bar 234, in which the A accent was reproduced twice, once in the R.H., and once in the L.H. category imprint: Differences between sources issues: Long accents , Errors in GE |
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b. 235
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composition: (Op. 4), Sonata in C minor, Mvt I
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The category imprint: Interpretations within context issues: Accidentals in different octaves |
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b. 235
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the cautionary flats to the A category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals |
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b. 235-236
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composition: (Op. 4), Sonata in C minor, Mvt I
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In this context, the absence of the longer slur corresponding to the slurs in the 3 preceding analogous situations must be considered Chopin's inadvertence. It was already GE (→FE,EE,IE) that regarded it as such. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 236
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composition: (Op. 4), Sonata in C minor, Mvt I
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Looking at the notation of the 2nd L.H. crotchet in A, one can have doubts whether it contains the c1 note, as one cannot see there a round notehead thereof, similar to g or d1. Its presence is proven by the fact that this crotchet's stem is clearly thicker, which is sometimes the only graphic element indicating the existence of a note on a ledger line in Chopin's autographs – cf., e.g. c1 at the beginning of the next bar, as well as some c3 and c4 in bars 231-235. The final assessment of such situations largely depends on the context, which in this place clearly supports the presence of c1 – this crotchet continues the sound plane initiated by the minim chords from the three previous bars, out of which each includes c1. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A |
to the bottom note of the 7th quaver in the bar is missing in the sources, as both Chopin and the publishers considered the accidental to the 1st quaver to be valid also here.
1-A
