b. 26
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composition: (Op. 4), Sonata in C minor, Mvt III
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The A version must be erroneous – if the penultimate quaver were supposed to be a d2, there would be no reason for writing a to the next note or anywhere else in this bar. Therefore, this is one of the very rare situations in which Chopin did not overlook an accidental cancelling an alteration, but the one defining it. This is how it was interpreted in GE (→FE,EE,IE), and this is the version we adopt to the main text. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Errors of A |
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b. 27
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composition: (Op. 4), Sonata in C minor, Mvt III category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 27
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composition: (Op. 4), Sonata in C minor, Mvt III
..
In A the middle note of the 2nd triplet is devoid of an accidental, which gives c2. What is more, the defining c2 is before the 2nd semiquaver of the nonuplet further on in the bar, which seems to confirm the fact that the discussed note should be a c2. On the other hand, a strong argument for an oversight of the before this note is provided by the penultimate semiquaver in the bar, b1, and not b1 – the 1st and 2nd beat is a transposition of the 4th and 5th beat by a second up (from F to G), and the counterpart of this b1 in the analysed place is c2, and not c2. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Omission of current key accidentals , Errors of A |
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b. 27
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composition: (Op. 4), Sonata in C minor, Mvt III
category imprint: Differences between sources issues: Errors in GE |
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b. 27
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composition: (Op. 4), Sonata in C minor, Mvt III
..
The first two accents in the top voice were most probably overlooked by the GE engraver (→FE,EE,IE). category imprint: Differences between sources issues: Errors in GE |