mUltimate Chopin

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

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 11-12

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

Wedge in b. 12 in A

2 wedges in GE (→FE,IE)

Wedge in b. 11 in EE
..

In the main text we keep the A version, in which the wedge over the 1st L.H. quaver is written only in bar 12. However, taking into account the similarities between both bars, one can consider the addition introduced by GE (→FE,EE,IE) to be justified, while the version with two wedges an acceptable variant.
The absence of the mark in EE in bar 12 must be a mistake.

category imprint: Differences between sources

issues: Errors in EE , GE revisions

b. 18

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

Accent in A (literal reading→GE)

 in FE, EE & IE
..

The second dynamic mark between the staves is very short, as a result of which it can be considered an accent. This impression is enhanced by the position of the mark, directly over the 8th L.H. quaver, slightly lower than the preceding  mark. Nevertheless, both the shape of the main melodic line and the harmonic course indicate the need for diminuendo in the final part of the bar (starting from the 4th beat), hence in the main text we reproduce this mark as a  hairpin (cf. also the longer mark in the next bar, placed higher). In GE a mark of an accent length was placed at the same level as the preceding  mark, as a result of which the remaining editions do not include the misleading association with the 8th L.H. quaver.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins

b. 19

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

Long accent in A

No mark in GE (→FE,EE,IE)
..

The missing long accent over b1 could be explained by an oversight; however, it is likely that the engraver wanted to make his work easier by considering the second diminuendo – after the mark between the staves – superfluous.

category imprint: Differences between sources

issues: Long accents , Errors in GE

b. 21

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

 in GE (→IE)

in FE & EE
..

The shifted  hairpin in FE and EE is a typical example of marks being adjusted to rhythmic structures, in this case a demisemiquaver beam. 

category imprint: Differences between sources

issues: EE revisions , Scope of dynamic hairpins , FE revisions

b. 23

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

 in A (→GE→FE,IE) & EE2

No sign in EE1
..

In EE1 the  hairpin was overlooked. The mistake was corrected in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE