|
b. 140
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
In A e and a in the L.H. and e1 and a2 in the R.H., the pitch of which is unquestionable due to the harmonic context, are devoid of the necessary accidentals. All the omitted naturals were added in GE (→FE,EE,IE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
|||||
|
b. 141
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
In the main text we add a cautionary category imprint: Differences between sources; Editorial revisions issues: EE revisions |
|||||
|
b. 142-144
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
The version of the editions (with rests) can be considered an equal variant, since Chopin himself used this version in analogous bars 355-357. In the main text we keep the A notation, as, formally speaking, both versions are inaccurate, and the performance – synchronisation with the R.H. part – is determined by the way the notes are arranged. This is a record of "harmonic legato" – holding one's fingers on the keys in order to achieve actual chords within a linear sequence. category imprint: Differences between sources issues: GE revisions |
|||||
|
b. 142
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
In addition to the cautionary category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals |
|||||
|
b. 142
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
The omission of the f1 crotchet at the end of the bar could be related to its position. In A this note is on the top stave (the other L.H.-part notes are on the bottom one), between the last notes in the R.H. part, which could have confused the engraver. category imprint: Differences between sources issues: Errors in GE |
to b
2 at the beginning of the bar. The accidental was also added in 
