mUltimate Chopin

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

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 209

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

 from b2 in A

 from b1 in GE (→FE,EE,IE)
..

The earlier starting point of the  hairpin in GE (→FE,EE,IE) is an inaccuracy due to a routine interpretation of this kind of marks by the engraver of GE.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 211

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

..

In the main text we add cautionary naturals to f3, the 3rd L.H. quaver and the 5th R.H. quaver. The accidentals in the L.H. was added also in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 212-214

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

..

In the main text we omit the unjustified flats (cautionary?) to a2 in bar 212, a1 in bar 213 and Ain bar 214, present in all sources. On the other hand, we add a cautionary  to B in bar 214. The latter was also introduced into GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

b. 214

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

Slur from a to d in A, contextual interpretation

Slur from b to b in A (probable interpretation→GE→FE,EE,IE)
..

It is unclear how to interpret the A slur. The comparison with the authentic slurs in bars 28-30, containing very similar figures, suggests that the slur could be starting from the 3rd quaver. Musically speaking, it would be justified to lead the slur to d, which draws our attention to this note, leading to e at the beginning of the next bar. On the other hand, due to the different structure of the L.H. figuration – a smooth scale sequence running from the beginning of the bar – there is no harmonic stop on a G chord present in the aforementioned bars, hence separating the first 2 quavers no longer makes sense. Moreover, taking into account the fact that the slur is more or less symmetrically placed over the group of 8 quavers, and the A slurs are often inaccurate, one can consider the whole-bar GE slur (→FE,EE,IE) a fully-fledged interpretation of the A notation. In the main text we opt for this interpretation, considering the first one an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 215

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

Wedge in A, literal reading

No mark in A (literal reading→GE→FE,EE,IE)
..

The notation of the 2nd L.H. crotchet is unclear in A – it seems that is has two stems, one pointing upwards, and the other one pointing downwards, as well as a wedge under the note. However, the alleged stem pointing downwards is probably only an element resulting from the motion of writing a note on a ledger line (cf. bars 9 and 12, as well as 133-134), hence we could assume that we are dealing here with an E note provided with a wedge and with a stem pointing upwards. On the other hand, the version with a stem pointing upwards is incorrect in this case, while the wedge is questionable if we take into account the clear dots written under or over the bass notes in this and the next bars, which leads to the following hypothesis: Chopin wrote this E note with a stem pointing upwards, then, willing to change its direction, he prolonged the line running downwards with the help of the alleged wedge (forgetting to delete the top stem). This is how it was reproduced in GE (→FE,EE,IE), which we provide in the main text.

category imprint: Graphic ambiguousness; Differences between sources

issues: Wedges , Inaccuracies in A , Partial corrections