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

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Verbal indications

b. 1

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

molt'espressione in A (→GE→IE)

molto espressione in FE & EE
..

The willingness to avoid the elision of the final vowel of the 'molto' adjective made the revisers of FE and EE commit a mistake – the correct form is 'molta': con molta espressione.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors in EE , FE revisions

b. 21

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

leggier. in A

leggier. in GE (→FE)

leggiero in EE

legger. in IE
..

In the main text we keep the Chopinesque abbreviation and its position in A (we only correct the manifest orthographic error – one 'g' is missing). There is no reason for moving the indication to the beginning of the bar, as it was done in GE (→FE,EE,IE). Writing the abbreviation in full in EE was rational, although it is highly likely that it does not exactly correspond to Chopin's intention – see the note on this abbreviation in the Variations in B, Op. 12, bar 14.
In IE the indication's orthography was modernised – cf. the Concerto in F minor, Op. 21, mov. III, bar 81.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Errors of A ,

b. 24-26

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

cre - scen - do in A

cresc. in GE (→FE,EE,IE)
..

The authentic notation, carefully defining the crescendo's range, was simplified to a standard abbreviation in GE (→FE,EE,IE).
Similarly, in bars 30-31.

category imprint: Differences between sources

issues: GE revisions

b. 26

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

 in A, likely interpretation

 in GE (→FE,EE,IE)
..

In the sources the  mark reaches , the position of which is, however, ambiguous in A, as it was written over the e1-e2 L.H. octave and a quaver later as well, under the R.H. e2 note. According to us, the mark is supposed to concern the R.H., and this is the interpretation we provide in the main text. Meanwhile, in the editions  was printed on the 4th quaver from the end of the bar, which probably resulted in a respective shift of the  hairpin.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 30-31

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

e   ral - len - tan - do in A

e rallentando in GE (→EE)

e rall. in FE

e rallent. in IE
..

As in bars 24-26, the Chopinesque notation, suggesting the scope of rallentando, was first simplified in GE (→EE) and then also shortened in FE and IE.

category imprint: Differences between sources

issues: GE revisions , FE revisions ,