b. 10
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composition: (Op. 4), Sonata in C minor, Mvt II
category imprint: Differences between sources issues: Errors in GE |
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b. 11
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composition: (Op. 4), Sonata in C minor, Mvt II
..
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
..
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
..
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
..
In GE (→FE,EE,IE) the mark entered into A in bar 14 was omitted. In EE this mark was added at the end of bar 13; although it seems to be a good time to release the pedal, it does not include the effect envisioned by Chopin, that is the unexpected bass octave overlapping the sound of the incomplete chord from the preceding bar. category imprint: Differences between sources issues: EE revisions , Errors in GE |