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

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Pitch

b. 234

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

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In the main text we add a cautionary  to c1.

category imprint: Editorial revisions

b. 236

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

b1 in A (→GE→EE1,IE), literal reading

b1 in FE & EE2
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It seems highly unlikely that the literal interpretation of the A version (→GE,EE1,IE) could have been intended by Chopin, particularly since the issue indirectly concerns also the pitch of the last quaver in the bar (b2 or b2?). Since bar 229, the key of F has been valid, while the harmonic sequence is aimed at its unambiguous confirmation in bars 239-241. In this context, the use of a C7< chord would be highly unconventional, especially considering the harmonic language of the Sonata. Therefore, in the main text we include the correction introduced by FE and EE2, resulting in a dominant chord with minor seventh, most natural in this context.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Omissions to cancel alteration , Errors of A , FE revisions

b. 236

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

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In EE1 the  raising b to b was overlooked. It was added in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 238

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

b3 in A (literal reading→GE→FE,IE)

b3 in EE

b3 (with ) suggested by the editors
..

The  raising b3 to b3 added in EE  is a routine revision, justified by dozens of places in which Chopin considered the accidental written the first time a given note appears to be valid also in other octaves (cf., e.g. the notation of the passages in bars 266-278). However, in this case, the altered note is only in the L.H. part, and its influence on the R.H. passage is not as obvious, particularly if we consider the shape of the melody of these passages in the preceding bar, where the 4th and 8th quavers are not within the key; they are foreign notes. Due to the above, in the main text we consider the A text (→GE→FE,EE) as if it did not contain a mistake, while in the main text we add a cautionary , advisable in this situation.  

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Accidentals in different octaves

b. 238

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

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In A (→GE→FE,EE,IE) Chopin wrote two cautionary flats in the R.H. part, to a2 and a3 (the 5th quaver). In the main text we also add a  to the L.H. part, which was also performed in GE (→FE,EE,IE); on the other hand, we omit the unnecessary accidental to the 5th quaver.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals