mUltimate Chopin

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

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Slurs

b. 40-42

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

..

As in bars 8-10, of which these bars are a non-written-out repetition, In EE1 a mistake was committed by printing the text of bars 40-41 (without the majority of performance markings) in place of bars 41-42 (the L.H. part). In EE2 the defect was corrected.

category imprint: Differences between sources

b. 43

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

Slur to g in A

2 shorter slurs in GE (→FE,EE,IE)
..

As in bar 11, of which this bar is a non-written-out repetition, in the main text we provide the A slur. The fact that the slur was shortened and doubled in GE (→FE,EE,IE) was an arbitrary decision of the GE1 engraver/reviser.

category imprint: Differences between sources

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
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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. 71-72

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

f1 tied in A (→GE→FE,IE)

f1 repeated in EE
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In GE (→FE,IE) both the R.H. slur and the R.H. tie were inaccurately reproduced – there is no ending thereof in bar 72, in a new line. In our transcriptions, we interpret this version as compliant with A. In EE the slur was reproduced correctly, but the tie to f1 was omitted. In the main text we provide the unquestionable A notation.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Inaccuracies in GE , Errors in EE , Errors repeated in FE , Errors repeated in IE

b. 72-74

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

2 slurs in A

Continuous slur in GE (→FE,EE,IE)
..

The adjacent endings of the slurs at the beginning of bar 73 are so close to each other in A that it cannot be ruled out that Chopin wanted to combine them. On the other hand, if this had been the case, he could have simply drawn one slur (under the notes) or add a second one, also under the notes, to emphasise their continuous nature. Therefore, the difference in the position of the slurs suggests the solution adopted to the main text, that is 2 overlapping slurs. This is also confirmed by the distribution of voices – the crotchets in bar 73 enter as a new, third voice.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions