mUltimate Chopin

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

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b. 126-127

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

..

In A Chopin omitted many accidentals, which, due to the context, does not cast doubt on the pitch of the respective notes. We are dealing with the sharps to g3 and c4 in bar 126 and to c3, g2, f2 and g1 (L.H.) in bar 127, as well as the naturals to e3 (the 2nd quaver) and a2 in bar 127. In GE (→EE,IE) all the missing accidentals were added except the  to g2 in bar 127, which was added only in FE.
Moreover, all editions feature a  to e3 on the 4th quaver in bar 127, unnecessary after adding a respective accidental 2 notes earlier.

category imprint: Interpretations within context; Differences between sources

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

b. 126

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

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We add a cautionary  before d1 in the main text.

category imprint: Editorial revisions

b. 127

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

in A

Longer  in GE (→FE,EE,IE)
..

In the main text we provide the  hairpin after A. However, it must be said that in this case the prolonged GE mark (→FE,EE,IE) does not differ that much from the A mark in terms of its meaning, while it is certainly compliant with the natural shape of the figuration. Bearing in mind that in the case of such elements as slurs, dynamic hairpins or long accents the A notation is often inaccurate, one can consider the version of the editions to be an acceptable variant.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 128

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

e2-c3 in A

e2-c3 in GE (→FE,EE,IE)
..

In A the accidental to the bottom note of the sixth at the beginning of the bar could be both a  and a :

  • the right vertical line, clearly longer than the left one and ended with a characteristic hook, is often present in naturals but almost never in sharps;
  • it is only the top horizontal line that goes beyond the two vertical ones, while in regular sharps it is always both that stick out.

According to us, it means that Chopin most probably changed the  to a , hence e2 to e2. Therefore, in the main text we provide e2 as probably the later version. It is difficult to say why GE (→FE,EE,IE) include e2, yet, taking into account the described irregularities concerning the shape of this accidental, it could be a mere misinterpretation of A. Another possibility could be revision due to the key of C minor (present in the previous bar) and a similar pattern in bars 130-132, closed with an extended cadence in C minor. Therefore, this version, probably authentic yet earlier, can be considered an acceptable variant.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , GE revisions , Inaccuracies in A

b. 128-129

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

..

In A there is no  to c2 in bar 128, as Chopin considered the accidental to c3 at the beginning of the bar to be valid. GE (→FE,EE,IE) did not add the accidental either. Moreover, in A the  to f1 in bar 128 and the  to e2 in bar 129 are missing; these inaccuracies were corrected in GE (→FE,EE,IE). In the main text we add cautionary naturals to d and d2 at the beginning of bar 129, as well as – in accordance with the rules we adopted to our edition – a  to b2 at the end of bar 129.

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Source & stylistic information

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A