mUltimate Chopin

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

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 30

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we omit the inauthentic fingering added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 30

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

..

In A there is no accidental to the last crotchet in the top R.H. voice, which results in f2. It must be Chopin's mistake, corrected in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions

b. 30

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

..

In the main text we add a cautionary  to f2. The accidental was also added by GE (→FE,EE,IE). By contrast, we omit the unjustified  to c2, the 4th quaver in the bottom voice, present in all sources.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

b. 30

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

 in A (literal reading→GE→FE,EE,IE)

Long accent in A, contextual interpretation
..

It is unclear how to interpret the  mark written in A over the R.H. part, as it is accompanied by a  mark under the stave, of almost identical range. Therefore, the top mark must refer to the top voice only and – when interpreted literally – would require the f2 quaver to be performed softer while realising the crescendo in the bottom voice. According to us, it is highly unlikely that Chopin would have envisioned such a fancy interpretation of this bar, hence in the main text we interpret the top mark as a long accent over f2, which results in a completely natural combination of an accent and a crescendo. The accenting nature of this mark can also be indicated by its beginning, which is slightly before the note.

category imprint: Editorial revisions

issues: Long accents

b. 31

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

..

In the main text we omit the unjustified cautionary  to a1 present in A (→GE,FE,IE). The accidental was also omitted by EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Cautionary accidentals , Last key signature sign