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

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 13

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

Long accent in A (→GE→FE,EE)

in IE
..

The extended  mark in IE was an arbitrary decision of this edition. Consequently, unlike in the other editions, the mark can no longer be considered a long accent, which, according to us, was intended by Chopin.

category imprint: Differences between sources

issues: Long accents ,

b. 16

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

from 2nd chord in A

 from 1st chord in GE (→FE,EE,IE)
..

The apparently minor inaccuracy in the reproduction of the  hairpin in GE (→FE,EE,IE) is however typical for engravers' modus operandi – the mark was extended to adjust it, more or less, to an easily perceptible rhythmic structure, which in this case is the bar.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins

b. 24

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

Long accent in A (→GE→EE,IE)

in FE
..

We interpret the A mark as a long accent, as it is graphically related only to the minim at the beginning of the bar. We similarly assess the slightly longer marks in GE, IE and EE. On the other hand, the FE mark is clearly longer, hence we reproduce it as a  hairpin.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in FE , Scope of dynamic hairpins

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. 37

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

No marks in A & EE

Staccato dots in GE (→FE,IE)
..

The staccato dots over the semiquavers ending the 1st and 2nd half of the bar resulted from a misunderstanding of the A notation – the dots prolonging the quaver rests were interpreted as staccato marks. The absence of dots in EE could be explained by an oversight or revision; anyway, nothing indicates that the English publisher could have had access to A.

category imprint: Differences between sources

issues: EE revisions , Errors in GE