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b. 333-336

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

No fingering in A (→GEFE,IE)

Fingering in EE

..

In the main text, we do not include the inauthentic R.H. fingering added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 334

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

..

In the main text we add a cautionary  to e3.

category imprint: Editorial revisions

b. 335

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

B in A

B-f in GE (→FE,EE,IE)

..

The additional f note resulted from a mistake by the engraver of GE, who mistook the wedge over B for a notehead.

category imprint: Differences between sources

issues: Errors in GE

b. 335

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

Wedges in A

No marks in GE (→FE,EE,IE)

..

The missing wedges in the editions are due to mistakes by the engraver of GE, who mistook the wedge over B for a notehead (see the note above) and overlooked the mark over E.

category imprint: Differences between sources

issues: Errors in GE

b. 336

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

Minim c in A, literal reading

Dotted minim in GE (→FE,EE,IE)

Minim & rest suggested by the editors

..

The GE version (→FE,EE,IE) is a misguided attempt at complementing the R.H. bottom voice. Formally speaking, the notation of this bar is unfinished in A, since the 3rd crotchet in the bottom voice was left incomplete, which, however, is not uncommon in Chopin's notation – cf., e.g. bars 355-357 – and would sometimes lead to misunderstandings and mistakes (cf., e.g. the Variations in B, Op. 2, bars 16-32). In the discussed place, nothing indicates that Chopin would have wanted to prolong the c minim. In order to avoid any doubts, in the main text we add a rest here.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Inaccuracies in A