mUltimate Chopin

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

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Articulation, Accents, Hairpins

b. 364

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

No markings in A (→GE→FE,IE)

Wedges & slurs in EE
..

It is difficult to say why EE added performance markings modelled after bars 359-362 only in this bar, and not in the preceding or the next one. In the main text we keep the notation of A and of the remaining editions, in which the markings from the aforementioned bars are to be naturally continued in bars 363-366.

category imprint: Differences between sources

issues: EE revisions

b. 368

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

in A

Longer  in GE (→FE,EE,IE)
..

First editions would often extend Chopinesque  hairpins (as part of revision). In the main text we reproduce the mark after A, although in this case the version of the editions can be considered equal – the mark certainly concerns the entire passage (cf. bar 370).

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 371-372

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

No marks in sources

Wedges suggested by the editors
..

In the main text we suggest adding wedges over the first notes of the quaver groups after analogous bars 5-6 and 188-189.

category imprint: Editorial revisions

b. 374

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

No mark in A

Wedge in GE (→FE,EE,IE)
..

In the main text we do not include the wedge added in the editions over the 2nd crotchet. It is true that the mark is present in A in bar 8, but the set of markings in that bar is clearly different than the one here or in bar 191.

category imprint: Differences between sources

issues: GE revisions

b. 377-378

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

 & cresc. in A

 in GE (→FE,EE,IE)
..

As in bars 194-195, GE (→FE,EE,IE) convey a simplified and inaccurate picture of the A dynamic markings.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , GE revisions