mUltimate Chopin

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

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 23

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

 in A, literal reading

Long accent in A, contextual interpretation

No sign in GE (→FE,EE,IE)
..

Both the starting point of the mark in A, slightly before the A-a minim, and the fact that it intersects the minim's stem, clearly indicate that it is related to this minim and, consequently, that it is an accent. This is also supported by the correction visible in A – in the preceding bar Chopin removed the  hairpin under the L.H. part, which suggest a change of concept from a  following a  to an individual accent; at the same time, it explains its atypical length. Therefore, in the main text we reproduce the mark as a long accent. The literal interpretation can be considered an equal variant.
The absence of the mark in GE (→FE,EE,IE) is most probably the engraver's oversight.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Errors in GE

b. 24

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

 &  in A

 & accent in GE (→FE,EE)

 &  in IE
..

Unlike in the previous two bars, the mark resembling an accent is written in A under the rest and before . Therefore, it is a short diminuendo hairpin, and this is how we reproduce this notation in the main text. In GE (→FE,EE) the mark was moved to the 3rd beat of the bar, as in the preceding bars. In IE it was reproduced inaccurately, achieving a version generally compliant with A (yet almost certainly accidentally).

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 24

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

..

In A the only  in this bar is before the 1st R.H. quaver (b1). The remaining necessary accidentals were added in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 25

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

..

In EE1 we can see here a bass clef, with a respective key signature, in spite of the prior change to a treble clef. The mistake was corrected in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 25-26

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic fingering added by EE.

category imprint: Differences between sources

issues: EE revisions