



b. 10-12
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composition: (Op. 4), Sonata in C minor, Mvt II
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In the main text we do not include the inauthentic fingering added by EE (in both impressions). category imprint: Differences between sources issues: EE revisions |
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b. 11
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composition: (Op. 4), Sonata in C minor, Mvt II
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In the main text we provide the A slur, in this case clearly led to the 3rd beat of the bar. GE (→FE,EE,IE) shortening and doubling the slur, although most probably compliant with the performance intended by Chopin, cannot be authentic. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions |
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b. 12
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composition: (Op. 4), Sonata in C minor, Mvt II
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The missing dot in EE is most probably the engraver's oversight. category imprint: Differences between sources issues: Errors in EE |
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b. 13-14
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composition: (Op. 4), Sonata in C minor, Mvt II
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We interpret the 4 staccato marks visible in A as dots, although the first and fourth could be considered wedges if the context were different. This fact partially explains the use of wedges in GE (→FE,EE,IE). Nevertheless, we consider this interpretation much less likely. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Wedges , Inaccuracies in A |
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b. 13-14
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composition: (Op. 4), Sonata in C minor, Mvt II
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In GE (→FE,EE,IE) the category imprint: Differences between sources issues: EE revisions , Errors in GE |