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b. 143
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The accent entered into A corresponds to a short accent in terms of size, but the characteristic shift beyond the note points to a long accent, and this is the interpretation we suggest in the main text. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 144-145
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The three A accents raise doubts as to their position and type of accent. In the first two figures the marks are written under the 3rd R.H. bottom voice quaver, while in the third one – slightly earlier. The first and third ones look like short accents; the second one is slightly longer. According to us, it is highly unlikely that Chopin would have wanted the third quaver to be accented. We do not find a strictly analogous place in the entire IV mov. of the Sonata, yet there is a number of similar situations in which we are dealing with accents – in bars 80-83 and 136-137, there are 7 accents in total, and all concern the first quaver, while 6 of them are long accents. Therefore, we could be dealing with an extreme example of one of the ways of marking long accents – marks entered after a note (cf. I mov., bars 82-84). Taking into account the above, in the main text we suggest long accents in the discussed place. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , GE revisions , Inaccuracies in A |
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b. 146-147
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In each of these bars, A does not contain accidentals to the last L.H. chord. Chopin also omitted the category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Errors repeated in EE |
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b. 146
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composition: (Op. 4), Sonata in C minor, Mvt IV
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Viewed in isolation, the staccato mark over the e category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Errors in EE , Wedges |
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b. 147-148
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The dots over the three chords are hardly visible in A (especially the first and third ones) due to the proximity of the top stave and the presence of dynamic hairpins or accents. This explains why they were omitted in GE (→FE,EE,IE). By contrast, the omission of the wedge at the beginning of bar 148 is due to the engraver's inadvertence only. The total absence of the marks in FE can be similarly explained. category imprint: Differences between sources issues: Errors in FE , Errors in GE |
in 
to the last quaver in bar 147. All these inaccuracies were corrected in 
crotchet visible in 
