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

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Ornaments

b. 60

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

 in A, contextual interpretation

No ornament in GE (→FE,EE,IE)

() suggested by the editors
..

The poorly visible mark written in A over the c3 quaver is most probably a , which is indicated by the comparison with the respective place in the recapitulation (bar 220 as well as 222). In GE (→FE,EE,IE) the indication was omitted, probably considering it a small crossing-out. This version cannot be entirely excluded, taking into account the absence of the mark in analogous bar 62 – perhaps Chopin decided to keep the ornaments to diversify the recapitulation.
In the main text we include the ornament in a variant form (in brackets) while adding a  specifying the sound of the top note of the trill as d3, which is more natural in this context – omitting such accidentals over trills or mordents is a rule rather than exception in Chopin's notation.
See also bar 62.

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category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Errors in GE , Omission of current key accidentals , Inaccuracies in A

b. 62

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

No ornament in sources

[] suggested by the editors
..

In the main text we suggest adding an ornament [] after analogous bar 220 and 222 and most probably also bar 60. As in the remaining bars, we specify the top note as d2.

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category imprint: Editorial revisions

b. 90

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

No ornament in sources

Our alternative suggestion
..

This four-quaver motif, which opens the Sonata, appears in the entire movement 10 more times (bars 1-2,  5, 7, 92, 94, 179-180, 183 and 185), always accompanied by  or  on the 1st note. This makes us assume that one of these marks could have been overlooked in the discussed bar (cf. bar 62). However, the absence of an ornament is inconspicuous here, and Chopin could have been thinking of clearly putting the chords introducing the key of A in bars 89-90 (both marked with ) or of avoiding three ornaments in a row (bar 90, 92 and 94) in a very similar context. In this situation in the main text we leave the version of the sources; as an alternative solution we suggest the version featuring an ornament. 

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category imprint: Editorial revisions

issues: Errors of A

b. 198

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

No grace note in sources

[] suggested by the editors
..

The comparison with the analogous figures in bar 20 and 34 points to a highly likely oversight of the grace note before the last chord (by Chopin).

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category imprint: Editorial revisions

issues: Errors of A

b. 202

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

..

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.

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category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Inaccuracies in A