mUltimate Chopin

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

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b. 73-74

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

2 slurs in A

Continuous slur in GE (→FE,EE,IE)
..

In the main text we keep the two slurs entered into A. The simplified notation of GE (→FE,EE,IE) is due to an arbitrary decision by the engraver of GE1.

category imprint: Differences between sources

issues: GE revisions

b. 73-75

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 in bars 73 and 75.

category imprint: Differences between sources

issues: EE revisions

b. 74-75

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

..

In the main text we include the cautionary  to e2 in bar 74, added in GE (→FE,EE,IE). By contrast, we omit the unjustified  to c3 in bar 75, present in all sources.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

b. 74

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

 in A, literal reading

Long accent in A, contextual interpretation

in GE (→EE)

in FE & IE
..

The  mark entered into A clearly refers to the bottom stave; as such – despite its considerable length – it denotes a long accent, as the similar mark in bar 72 does. This is how we interpret this mark in the main text. In GE, the extension of the mark and its vague position between the staves changed its meaning, which is confirmed by the remaining editions, based on GE, in which it was assigned to the R.H., as a complement to the mark from the preceding bar. 

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE

b. 76-77

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

Long accents in A, contextual interpretation

in GE (→FE,EE,IE)
..

In spite of certain differences in the position and size of the  marks in A, there is no doubt that they are related to the L.H. minim chords, which allows us to consider them long accents. The way they were reproduced in GE suggests that the engraver wanted to pair them with the R.H. quavers, as a result of which they are significantly extended, while the mark in bar 76 was additionally moved closer to the R.H. part, which does not stem from the A notation. In the remaining editions the marks were placed more or less between the parts of both hands, while in FE their range was standardised. We do not reproduce these differences – irrelevant for determining Chopin's intention – in our transcriptions.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , GE revisions , FE revisions