mUltimate Chopin

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

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b. 34

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

Crotchet b in A (literal reading→GE→FE,EE,IE)

Quaver b in A, contextual interpretation
..

As in bar 16, the literally interpreted b, the top note of the tenth on the 5th quaver, is a crotchet in A (→GE→FE,EE,IE). According to us, this is an overinterpretation of inaccurate notation, hence in the main text we write the tenth as a quaver.

category imprint: Graphic ambiguousness; Editorial revisions

issues: Inaccuracies in A

b. 34-35

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

No fingering in A (→GE→FE,IE)

Fingering in EE1

Fingering in EE2
..

In the main text we omit the inauthentic fingering added in EE (in both impressions).

category imprint: Differences between sources

issues: EE revisions

b. 35

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

Dotted quaver in sources

Quaver suggested by the editors
..

In the Chopinesque notation of the 3rd quintuplet d2, lasting only 2 semiquavers, is a dotted quaver, which is erroneous, formally speaking; therefore, in the main text we omit the augmentation dot.

category imprint: Editorial revisions

issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE , Errors repeated in IE

b. 35

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

Quaver e1 in A

Semiquaver e1 in GE (→FE,EE,IE)
..

In the main text we keep the A version, as, contrary to the opinion of the engraver or the reviser of GE (→FE,EE,IE), it does not contain a mistake – the value of a quaver means that e1 lasts 2 semiquavers (of the quintuplet), hence to the end of this beat of the bar (together with c2 and g1).

category imprint: Differences between sources

issues: GE revisions

b. 35

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

Crotchet e1 in A

Quaver e1 in GE (→FE,EE,IE)
..

The notation of the sextuplet that ends the bar does not contain a mistake in A, hence we keep it in the main text, although it is not entirely clear why the two a1 quavers should be separated as the top voice. The sextuplet's interpretation of GE (→FE,EE,IE) is also justified, as in many cases A stems do not reach their respective beams (examples thereof are to be found even in this bar), and it could have been considered that the e1 stem pointing upwards should reach the beam of the top quaver beaming. This version suggests that the main melodic line is constituted by the following notes: a1-e1-a1-b1-c2, which seems musically convincing.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in A