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b. 18
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composition: (Op. 4), Sonata in C minor, Mvt II
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We assume that the A mark refers to the R.H. minim, which results from the unquestionable notation of the three following, analogous bars. Therefore, it is a long accent, which is also confirmed by the evident accents in the next bars. In GE (→FE,EE,IE), although the position of the mark also points to the R.H., its length was adjusted to the L.H. triplet, as a result of which it looks more like a category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 19-21
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composition: (Op. 4), Sonata in C minor, Mvt II
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GE (→FE,EE) considered the very characteristic long accents visible in A in bar 19 and 21 to be common, short accents. The absence of these marks in EE is most probably due to the engraver's mistake. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Errors in EE |
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b. 20
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composition: (Op. 4), Sonata in C minor, Mvt II
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The comparison with the A marks in analogous bar 18, 19 and 21 proves that the one in bar 20, although much shorter, is also to be interpreted as a long accent. category imprint: Editorial revisions issues: Long accents , Inaccuracies in A |
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b. 20
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composition: (Op. 4), Sonata in C minor, Mvt II
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In the context of three analogous bars, bar 18, 19 and 21, the missing slurs must be considered Chopin's inadvertence. Due to the above, we add them in the main text. category imprint: Editorial revisions |
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b. 22
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composition: (Op. 4), Sonata in C minor, Mvt II
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The dot in the L.H. part was most probably overlooked in GE (→FE,EE,IE), while the mark in the R.H. was adjusted to the wedges over the quavers ending the passages in this and the next bars. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , Wedges |
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