mUltimate Chopin

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

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b. 11

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

..

In EE1 the quaver beam starts from the second note and ends on the fifth one. The mistake was rectified in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Sign reversal

b. 24

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

Tie to g in A & IE

Slur in GE (→FE)

No sign in EE
..

GE (→FE) put the tie to g under the bottom stave, which turned it into a vague curved line. EE omitted it, and it was only IE that guessed Chopin's intention.

category imprint: Differences between sources

issues: Errors in EE , GE revisions ,

b. 28

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

Crotchet d2 in A

Quaver d2 in GE (→FE,EE,IE)
..

The version of the editions, in which the last d2 note is a quaver attached to the L.H. part, resulted from a misunderstanding of the misleading A notation – the d2 crotchet stem (bottom R.H. voice) almost reaches the e1 quaver written on the top stave.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , Inaccuracies in A

b. 38

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

g repeated in sources

g tied, our suggestion
..

In the main text we suggest adding a tie to g due to the notation in analogous bar 24 and 202. It is likely that the tie could have been overlooked in A, as the bar opens a new page.

category imprint: Editorial revisions

b. 46

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

Quaver chord in A, literal reading

Octave & third in A, possible interpretation 

c2 & chord in GE (→FE,IE)

Octave in EE
..

The illogical GE version (→FE,IE), in which the c1-f1-a1 chord at the beginning of the 2nd half of the bar is a crotchet and is assigned to the bottom voice, resulted from a misunderstanding of the A notation, which is actually misleading. The manuscript can be interpreted twofold:

  • The stem under c1 concerns the f1-a1 third, as it was, more or less, in the preceding bar, where the division into parts is clear only due to the dots prolonging the g1-a1 second. Harmonically and pianistically speaking, this version is flawless, yet the chosen kind of notation would be very confusing, which, according to us, reduces the likelihood of it being interpreted correctly.
  • The alleged stem under the c1 note is a side result of the manner of writing notes on ledger lines with a small stroke pointing downwards, to mark the presence of a given note, which otherwise could be imperceptible due to the thickness of the ledger line; this manner is often to be found in Chopin's autographs – cf., e.g. the Mazurka in B minor, Op. 24 No. 4, bar 23. In the Sonata, there are many examples of this kind of notation, e.g. at the end of bar 49 (in the same line, in the R.H.). When interpreted as such, the A notation is unambiguous and simple – the entire chord is supposed to be a quaver. Therefore, we consider it to be the A text and introduce it into the main text.

The EE version probably resulted from an unfinished attempt at correcting the GE notation – the aim was one of the versions described above, yet the middle notes of the chord were not printed.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in EE , Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A