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b. 237
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composition: (Op. 4), Sonata in C minor, Mvt I
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The traces of erasure visible in A prove that some marks in the bottom part of the stave were being removed. Perhaps Chopin initially wrote the L.H. part in the 2nd half of the bar an octave lower (by mistake – cf. the Ballade in G minor, Op. 23, bars 159-160). category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 239-241
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we do not include the inauthentic fingering concerning the L.H. octaves, added by EE. category imprint: Differences between sources issues: EE revisions |
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b. 239-240
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composition: (Op. 4), Sonata in C minor, Mvt I
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The meaning of the 3 slurs/ties in bar 239 visible in A (→GE→EE) is unclear, since they are not continued in the next bar, which opens a new line. One can see them as "tenuto-slurs", sometimes found in Chopin's autographs or as unfinished ties (to e category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: FE revisions , Uncertain slur continuation , Tenuto slurs , |
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b. 240-246
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A the L.H. part is written in shorthand – only top octave notes and the con 8 - - - indication. GE (→FE,EE) wrote the octaves in full only in bars 240-243; it was only IE that wrote the entire section in full. category imprint: Differences between sources issues: GE revisions , Abbreviated octaves' notation , |
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b. 240
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composition: (Op. 4), Sonata in C minor, Mvt I
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The EE2 version resulted from a misunderstanding of the original notation – the reviser changed the writing from three-part to two-part. category imprint: Differences between sources issues: EE revisions |
1 and c2) and an articulation-motivic slur (the third slur, the middle one). According to us, the second possibility is more likely – overlooked endings of the ties and the slur – and this is the version, introduced also by 
