Articulation, Accents, Hairpins
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b. 206
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The coincidence concerning the range of the category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions , EE inaccuracies |
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b. 209
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The earlier starting point of the category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 215
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composition: (Op. 4), Sonata in C minor, Mvt IV
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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 category imprint: Graphic ambiguousness; Differences between sources issues: Wedges , Inaccuracies in A , Partial corrections |
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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. 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 |
from 3rd quaver in 
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
