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

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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

b. 53

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

..

In the main text we omit the unjustified (cautionary?)  to the c minim, present in all sources. We do not include the  to the c1 crotchet either, added in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals , Last key signature sign

b. 54-55

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

Slur from b. 54 in A (→GE→EE,IE)

Slurs from b. 55 in FE
..

The later starting point of the slurs in the parts of both hands does not seem to be a random mistake by the FE engraver. However, it is difficult to indicate the reason behind this revision.

category imprint: Differences between sources

issues: FE revisions

b. 55-56

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

No fingering in A (→GE→FE,EE1,IE)
..

In the main text, we do not include the inauthentic L.H. fingering added by EE2.

category imprint: Differences between sources

issues: EE revisions

b. 58-60

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

Accents in A, literal reading

 hairpins in GE (→FE,EE,IE)
..

When interpreted literally, the pairs of dynamic marks in these bars look like a crescendo and an accent. However, the comparison with an analogous phrase in bars 49-52 and with bar 57 proves that – which was already noticed in GE (→FE,EE,IE) – Chopin intended them to be pairs of  . Such situations explain, to a certain extent, the engravers' general tendency to prolong dynamic hairpins.

category imprint: Graphic ambiguousness; Differences between sources

issues: Scope of dynamic hairpins , GE revisions , Inaccuracies in A