b. 329-331
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the arms of the hairpin differ by a half of a bar. We assume that it is the bottom, longer arm that is reliable, reaching the topmost note of the three-bar quaver sequence. In GE (→FE,EE,IE) the mark was led only to the end of bar 330, in accordance with the range of the top arm; moreover, the beginning of the mark was shifted by almost an entire bar, making it look like the hairpin that was printed in an analogous phrase 4 bars earlier. category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins , GE revisions |
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b. 330
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the hairpin was written carelessly, hence in the main text we slightly extend it. In GE (→FE,EE,IE) the mark was extended to encompass almost an entire bar, which could suggest the performer a different approach to the crescendo with respect to the one indicated by Chopin. See also bar 328. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions |
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b. 330
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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 b note. category imprint: Editorial revisions |
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b. 332
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composition: (Op. 4), Sonata in C minor, Mvt IV
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Starting from the 4th quaver, Chopin omitted in A – in his typical way – all naturals to the e and a notes, four in the R.H. part and one in the L.H. part. In GE (→EE,IE) only the first 4 were added, while the correct text is to be found only in FE. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in EE , Errors repeated in IE |
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b. 332
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we add a slur after analogous bar 328. category imprint: Editorial revisions |