mUltimate Chopin

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

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b. 13-15

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text we omit the inauthentic L.H. fingering added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 14-15

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

 f in b. 14 & 2  e in A

2  e in GE (→FE,EE,IE)

2  f & 2  e suggested by the editors

2  f & 2  e, our alternative suggestion 1

2  f & 2  e, our alternative suggestion 2 
..

Even though the extension of the e note on the 8th quaver of the bar to a dotted crotchet seems illogical, in the main text we keep the notation of the sources, as it is difficult to clearly indicate the mistake Chopin could have committed. We suggest two most likely solutions, according to us, as alternative versions. In the main text we add a stem to the f quaver in bar 15, which prolongs it to a crotchet, as in bar 14.
GE (→FE,EE,IE) repeated the Chopinesque version of the prolonged e notes; however, the extension to the f note in bar 14 was omitted, probably by inattention.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Rhythmic errors , Errors of A

b. 15

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

..

The  to the bottom note of the chord on the 3rd beat omitted in A (→GE→EE,IE) was added only in FE.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , FE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in EE , Errors repeated in IE

b. 15

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

a1 tied in A, less likely reading

b1-c2 slur in A, contextual interpretation

a1 tied & b1-c2 slur in GE (→FE,EE,IE)
..

It is unclear which notes the middle one of the 3 slurs/ties combining the chords on the 3rd and 4th beat of the bar in A concerns – a1 (which would make it a tie) or b1-c2. According to us, although its left-hand ending is at the pitch of a1, it is the other possibility that is more likely, that is a b1-c2 slur. It is supported by the following arguments:

  • graphic similarities between all 3 slurs – their right-hand endings are placed higher, which suggests that all of them concern the ascending second motifs, d1-e1, b1-c2, d2-e2;
  • the comparison with the preceding bar, in which, in an analogous situation, Chopin wrote 2 slurs clearly referring to the ascending motifs, which indicates that a1 should be repeated.

In GE (→FE,EE,IE) the problem was "solved" by adding a 4th slur, which is an arbitrary decision frequently encountered in Chopin's pieces – cf., e.g. mov. IV of the Sonata, bar 57.

category imprint: Differences between sources

issues: GE revisions

b. 15

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

Slur to penultimate quaver in A, literal reading

Slur to last quaver in GE (→FE,EE,IE)
..

The comparison with the preceding bar proves that the slur ending earlier here is due to Chopin's inaccuracy in A. The editions prolonged the slur, which was certainly right in this case.

category imprint: Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , GE revisions