mUltimate Chopin

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

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Rhythm

b. 9-10

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

Slur in upper part in A, probable interpretation

Tie to a1 in GE (→FE,EE,IE)
..

The meaning of the slur/tie led in A under the top voice notes is unclear. In GE (→FE,EE,IE) it was reproduced as a tie to the last a1 crotchet in bar 9; however, according to us, it is more likely that Chopin meant a slur, writing it with the chromatic step in the top voice in mind. It is indicated by the slur's position – a tie concerning a1 could have been written at the pitch of this note or slightly below. Therefore, in the main text we provide a slur concerning the top voice, placing it over the notes for the sake of clarity.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 9

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

c2 tied in A (→GE→FE,IE) & EE2

c2 repeated in EE1
..

The missing tie to c2 is due to an oversight by the EE1 engraver, corrected in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

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

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. 16

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
..

In A b, the top note of the tenth on the 5th quaver, is not attached to the G quaver, as a result of which it seems that it is separated from the quaver figuration and that it is a crotchet. This is how it was reproduced in GE (→FE,EE,IE). According to us, it is a misunderstanding – cf., e.g. the similarly inaccurately written R.H. sixths in bar 13.
The same applies to bar 34.

category imprint: Graphic ambiguousness; Editorial revisions

issues: Inaccuracies in A