mUltimate Chopin

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

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 324

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

in A

 in GE (→FE,IE) & EE2

No sign in EE1
..

In the main text we provide a  after A. In GE (→FE,IE) the mark was slightly moved and extended. The absence of the mark in EE1 is due to an oversight, corrected in EE2.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , Errors in EE

b. 325-326

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

in A

Longer  in GE (→FE,IE)

No sign in EE
..

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 ,

b. 328

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

in A

 in GE (→FE,EE,IE)
..

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.
Similarly, in bar 332.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 329-331

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

to b. 331 in A

 in b. 329-330 in GE (→FE,EE,IE)
..

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

b. 330

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

in A

 in GE (→FE,EE,IE)
..

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