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b. 216-217
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we reproduce the 5 staccato marks – undoubtedly dots – entered into A. In GE (→IE) the mark at the beginning of bar 217 was omitted, while the remaining ones were reproduced as wedges. The absence of the marks in FE (bar 216) and EE1 (in both bars) is due to the engravers' mistakes. In EE2 marks were added in the places in which they are present in GE, yet dots were used, as in bar 215. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , GE revisions , Wedges |
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b. 216
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composition: (Op. 4), Sonata in C minor, Mvt IV
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At the beginning of bar 216 and 220 in the main text we keep the typical, simplified A rhythmic notation. In GE (→FE,EE,IE) the rhythmic value of the top note was changed to a crotchet, most probably in order to complete the top voice rhythm. category imprint: Differences between sources issues: GE revisions |
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b. 218
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composition: (Op. 4), Sonata in C minor, Mvt IV
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Performing the crotchets in this bar staccato, as in the preceding bars, seems natural, hence highly likely. However, Chopin did not mark it, as one can imagine a change to the kind of articulation due to the possible continuation of crescendo; in the main text we leave this issue to the discretion of the performer. category imprint: Differences between sources issues: GE revisions |
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b. 218
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composition: (Op. 4), Sonata in C minor, Mvt IV
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It is difficult to find a justification for the change of font and position of these 4 accents in FE – in GE they are identical to the ones in bar 217 and 221-222. category imprint: Differences between sources issues: Long accents , FE revisions |
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b. 220-221
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composition: (Op. 4), Sonata in C minor, Mvt IV
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According to us, when interpreted literally, the A notation is an example of an uncontrolled change to the concept of articulation markings (another example – see I mov., bar 102). Chopin probably wanted to replace one or both staccato dots with a slur or the other way round. We consider the latter to be more likely – initially, the composer wanted to diversify the bass articulation by writing slurs in bars 219-220 and 220-221; then he decided to use a slur only the second time, to emphasise the modulating B category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccuracies in GE , Wedges , Partial corrections |
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