mUltimate Chopin

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

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b. 71

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

..

In EE1 the topmost note of the L.H. minim chord is an f1. This is a patent mistake, corrected in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 71

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

..

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , Inaccuracies in A

b. 71

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

No fingering in A (→GE→FE,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. 72

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

in A

 in GE (→FE,EE,IE)
..

In the main text we keep the authentic differentiation between the markings –  in bar 70 and  in bar 72. The standardisation performed in GE (→FE,EE,IE) could have resulted from a misinterpretation of the mark in the discussed bar.

category imprint: Differences between sources

issues: Errors in GE

b. 72

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

 in A (literal reading→GE→FE,EE,IE)

Long accent in A, contextual interpretation
..

A  sign pertaining to one chord is intrinsically a long accent, and this is how we reproduce it in the main text. This kind of notation can also be found in later pieces, despite the fact that at that time Chopin already had his typical way of writing long accents –cf. the Scherzo in B minor, Op. 31, bars 6-7.
Similarly in bar 74.

category imprint: Differences between sources

issues: Long accents