mUltimate Chopin

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

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b. 46-47

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

..

As in bars 14-15, of which these bars are a non-written-out repetition, in A the  to the bottom note of the 1st octave in bar 46 is missing. The patent inaccuracy was corrected in GE (→FE,EE,IE). In the main text we also include the cautionary flats to the B1-B octave in bar 47 added in the editions.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

b. 47

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

 before 3rd crotchet in A

 under 3rd crotchet in GE (→IE)

 after 3rd crotchet in FE & EE
..

As in bar 15, of which this bar is a non-written-out repetition, in the main text we reproduce the  sign after A. In GE (→IE) it was moved under the 3rd crotchet, while in FE and EE even farther.

category imprint: Differences between sources

b. 49-50

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

  in A (→GE→FE,IE)

No signs in EE
..

The absence of the hairpins is most probably due to the EE engraver's inattention. They are also missing in the next bar.

category imprint: Differences between sources

issues: Errors in EE

b. 51-52

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

  in A

  in GE (→FE,IE)

No signs in EE
..

In GE (→FE,EE,IE) the   hairpins were inaccurately reproduced in this bar, repeating the scheme from the preceding bars. In the main text we provide the A notation, certainly well thought out. In EE the hairpins were omitted, as in the preceding bars.

category imprint: Differences between sources

issues: Errors in EE , GE revisions

b. 52

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

d2 in A, literal reading

d2 in GE (→FE,EE,IE)

d2 (with ) suggested by the editors
..

In A there is no accidental before the chord's third, which results in d2 when interpreted literally. GE (→FE,EE,IE) considered it a mistake and added a  raising d2 to d2. Chopin would rarely write cautionary accidentals, hence the absence of a  before this note cannot be considered an argument for d2. On the other hand, the stylistic analysis does not allow us to clearly favour one of the versions:

  • the harmonic context in the adjacent bars allows for the use of both a B and a B minor chord in the discussed place;
  • although d1 is present in analogous bar 60, d1 would be unconceivable there, harmonically speaking;
  • in the version featuring d2 three subsequent four-bar phrases end in a B chord, which, on the one hand, enhances the wait for the expected E minor tonic chord; on the other hand, it gives the impression of a certain monotony.

In this situation, due to the absence of clear arguments for Chopin's mistake, in the main text we provide the A version, adding a cautionary  to the problematic note.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Omission of current key accidentals , Errors of A