mUltimate Chopin

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

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b. 37-38

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

..

As in bars 5-6, in A there are no accidentals to the bottom notes of the L.H. octaves; the  raising a1 to a1 in bar 38 is missing as well. All accidentals were added in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 37

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

between staves in A

2  in GE (→FE,IE)

 above upper staff in EE
..

Replacing the Chopinesque  hairpin by two marks under and over the text was an arbitrary decision by GE (→FE,IE), probably inspired by the arrangement of the dynamic hairpins in the previous bars. The omission of the bottom mark in EE seems to be an oversight.

category imprint: Differences between sources

issues: Errors in EE , GE revisions

b. 38-48

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

..

These bars (to the repeat sign) are not written out in the sources in this place, but marked as a repetition of bars 6-16 – see the note at the end of bar 37. Therefore, all the differences between the sources and other problematic issues concerning these bars were already discussed in bars 6-16.

category imprint: Source & stylistic information

b. 39

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

2  in A (→GE→FE,IE)

No markings in EE1

2  in EE2
..

As in bar 7, the omission of both  signs is a mistake by the EE1 engraver, who committed several dozen mistakes in this and the next 3 bars. EE2 added a  sign, which Chopin used much less often.
See also the next note.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 40

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

 &  in A (→GE→IE)

in FE

No markings in EE
..

The omission of  in FE and of  and  in EE must be the engravers' mistakes.

category imprint: Differences between sources

issues: Errors in FE , Errors in EE