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b. 155
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composition: (Op. 4), Sonata in C minor, Mvt IV
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Long accents reproduced as short accents are often to be found in GE (→FE,EE,IE) in Chopinesque first editions. In this case, however, the A mark is so clear and typical that the inaccuracy may be puzzling. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 156
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we add cautionary naturals to d1 and g. category imprint: Editorial revisions |
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b. 156
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we reproduce the A slur as combining the a1 crotchet with the b category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE |
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b. 158
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composition: (Op. 4), Sonata in C minor, Mvt IV category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 160
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The addition of an augmentation dot to e1 is a wrong revision, based on the assumption that the bottom voice, represented by the e1 crotchet and the c1 quaver, should be complemented so that it is a minim. According to us, it is already complemented by the f1 quaver on which both bottom voices meet. An approximate record of voices performed by one hand is typical of the Chopinesque notation. In this case, it seems that it was the overly precise notation on the last quaver that caused the misunderstanding – had Chopin written the 2nd half of the bar as follows: category imprint: Differences between sources issues: Errors in GE , GE revisions , |
1 in 
to the last L.H. quaver, instead of a 
. The mistake was rectified in 
, the mistake probably would not have happened.