mUltimate Chopin

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

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b. 76-77

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

Long accents in A, contextual interpretation

in GE (→FE,EE,IE)
..

In spite of certain differences in the position and size of the  marks in A, there is no doubt that they are related to the L.H. minim chords, which allows us to consider them long accents. The way they were reproduced in GE suggests that the engraver wanted to pair them with the R.H. quavers, as a result of which they are significantly extended, while the mark in bar 76 was additionally moved closer to the R.H. part, which does not stem from the A notation. In the remaining editions the marks were placed more or less between the parts of both hands, while in FE their range was standardised. We do not reproduce these differences – irrelevant for determining Chopin's intention – in our transcriptions.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , GE revisions , FE revisions

b. 76-79

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

..

In the main text we include the 4 cautionary flats to e3 added to these bars by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 77-79

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

..

In A Chopin omitted a few necessary accidentals – the naturals to the top notes of the L.H. crotchet chords in bar 77 and 79 (a2) and the  to the last quaver in bar 77 (c4) and the naturals to the first and last quaver in bar 79 (a3 and e4). In GE (→EE,IE) 4 of them were added (except the  to a2 in bar 79); the fully correct text is only in FE. 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Omission of current key accidentals , FE revisions , Inaccuracies in A

b. 77-79

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

Dot & wedge in A

No marks in GE (→FE,EE,IE)
..

The missing staccato marks at the beginning of bar 77 and 79 are most probably due to an oversight by the engraver of GE. It is particularly likely in bar 77, in which the dot in A is close to the line marking the range of the octave sign, composed of dashes and dots. However, it can be seen that the mark is not entered in a place in which an octave sign dot could have been situated.

category imprint: Differences between sources

issues: Errors in GE

b. 78-79

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

Long accents in A (contextual interpretation→GE (→IE)

Short accents in FE & EE
..

In A the accents in these bars are shorter than in the previous ones. According to us, it is an accidental effect, related to the fact that bar 78 opens a new page in A. GE (→IE) interpreted this version of the marks correctly, as long accents (in FE and EE they were reproduced as short accents).

category imprint: Graphic ambiguousness

issues: Long accents , Inaccuracies in FE , EE inaccuracies , Inaccuracies in A