b. 325-326
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we reproduce the hairpin entered into A. In GE (→FE,IE) the mark was arbitrarily extended, as a result of which it spans almost two entire bars (a similar situation is to be found 4 bars later). The absence of the mark in EE is most probably due to the engraver's oversight. category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in EE , GE revisions , |
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b. 326-327
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we add a cautionary to the first a note in bar 326 and a to the first d1 note in bar 327. category imprint: Editorial revisions |
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b. 328-329
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composition: (Op. 4), Sonata in C minor, Mvt IV
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Leading the slur to bar 329 almost certainly resulted from a misinterpretation of A by the GE engraver. In A this place is below bars 320-321, and the L.H. part G1-A1 slur present there could be considered an extension to the discussed R.H. slur in bar 328. category imprint: Differences between sources issues: Errors in GE |
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b. 328
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In GE (→FE,EE,IE) the beginning of the hairpin was clearly moved towards the beginning of the bar. In this context, it does not influence the performance manner, yet it could suggest, to a certain extent, the range and amplitude of the crescendo. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions |
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b. 329
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The missing c3 note in GE (→FE,EE,IE) is most probably an oversight by the GE engraver. In Chopin's autographs, establishing the presence of a middle note of a chord on a ledger line can be problematic; in this case, however, the c3 notehead is very clear, even bigger than e3 (however, the presence of e3 is proven by the very fact of writing a ledger line at this pitch). category imprint: Differences between sources issues: Errors in GE , Uncertain notes on ledger lines |