Articulation, Accents, Hairpins
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b. 163
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composition: (Op. 4), Sonata in C minor, Mvt I
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The missing category imprint: Differences between sources issues: Errors in IE |
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b. 164-165
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composition: (Op. 4), Sonata in C minor, Mvt I
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The missing category imprint: Differences between sources issues: Errors in FE |
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b. 165
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composition: (Op. 4), Sonata in C minor, Mvt I
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In GE (→FE,EE,IE) the slur and the dots were most probably added by analogy with the preceding bar, although it would be more reasonable to follow bar 163. Anyway, the indicated articulation most probably corresponds to the one intended by Chopin, hence this version can be considered an acceptable variant. category imprint: Differences between sources issues: GE revisions |
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b. 177
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composition: (Op. 4), Sonata in C minor, Mvt I
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The staccato marks with which Chopin marked the sequence of thirds in A can be interpreted as dots or wedges. According to us, Chopin wrote dots, which he then turned into wedges, or the other way round – wedges that he tried to replace by dots. Taking into account category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Corrections in A , Wedges , Inaccuracies in A |
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b. 227
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composition: (Op. 4), Sonata in C minor, Mvt I
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The lack of accent is probably a mistake by the engraver of EE. category imprint: Differences between sources issues: Errors in EE |
in 
dynamics and the clear wedges over the chords marked with 
and 
in bar 178, we consider dots to be more likely as the final markings. However, the wedges present in the sources can be considered an equally valid variant.
