mUltimate Chopin

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

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b. 5

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

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In EE1 the  lowering d1 to d1 and the  raising e4 to e4 were overlooked. The errors were corrected in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 6

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

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In A the arpeggio wavy line is on the right side of the chord, which almost certainly does not impact its meaning. In the editions it is in its common position. See I mov. of the Sonata, bar 202.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Inaccuracies in A

b. 6

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

A in A

A in GE (→FE,EE,IE)
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The version featuring A is absolutely possible, harmonically speaking; however, it seems much more likely that Chopin forgot to write a  (as in the previous bar). It is supported by the regular, chromatic bass sequence, contrasting with the chromatic sequence of the topmost R.H. notes (e-f-f-g); above all, it is supported by the flats in two analogous bars as this theme returns – bar 189 and 372. Considering the above analysis, in the main text we provide the version of the editions, featuring A.

category imprint: Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A

b. 7

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

f2, f1, f in A

f2, f1, f in GE (→FE,EE,IE)

f2 (), f1, f suggested by the editors
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In the 2nd half of the bar A does not contain any accidentals; therefore, the 1st R.H. quaver is to be read as f2, the last one as f1, while the respective L.H. chord note as f. The sharps raising all those f notes to f present in GE (→FE,EE,IE) were arbitrarily added by the reviser of GE, who assumed that Chopin overlooked them. However, it does not seem possible at all, since this pattern appears two more times further on, in bar 190 and 373, always in the same form in A, without any accidentals. It is also worth emphasising that unlike in the previous two bars (see the notes on bars 5 and 6), in this case the oversight would not concern a cancelled alteration, which is one of the most frequent mistakes by Chopin, but the alteration itself, which was extremely rare. Therefore, in the main text we provide the version with f, as the only authentic one; we only add a cautionary  to the first of the discussed notes (f2).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 8

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

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category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A