mUltimate Chopin

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

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b. 105-107

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

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In A, on the 3rd crotchet in bar 105 and 107, a  is present only next to the top note. The patent inaccuracy was corrected in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

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

b. 105

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

3 wedges & dot in A, literal reading

4 dots in GE (→FE,IE)

2 dots in EE

4 wedges suggested by the editors
..

Although 3 out of four staccato marks entered into A are provided with the form of a wedge (as in the next bars), in GE (→FE,IE) they were reproduced as dots. The absence of two dots in EE cannot be easily explained – neither revision nor oversight are a reasonable ground. In the main text we provide 4 wedges due to the fact that they clearly prevail over dots in the A notation – in this and the next two bars Chopin wrote 9 wedges and one dot.
See also bar 107.

category imprint: Differences between sources; Editorial revisions

issues: Errors in EE , GE revisions , Wedges , Inaccuracies in A

b. 107

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

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In A the  to the topmost note in the 3rd quaver (c2) is missing. The cautionary  to e2 is absent too. Both accidentals were added in GE (→FE,EE,IE), which we include in the main text.

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

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

b. 107

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

No marks in A

Wedges in GE (→FE,EE,IE)
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In this context, the missing wedges in A in the 2nd half of the bar must be considered Chopin's oversight, hence in the main text we include the marks added in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 108-109

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

,  & > in A, literal reading

Long accents in A, contextual interpretation

6  in GE (→IE)

6  in FE

3  in EE1

4  in EE2
..

All marks in the form of  or of accents entered into A must have the same meaning in this context. This is a very significant argument for the interpretation of such marks we adopted to the entire Sonata (and more). In GE they were reproduced as , which does not differ much from the A notation (except the first and third R.H. marks), yet, according to us, it does not accurately convey their meaning. In the main text we reproduce them in a standardised form as long accents, which better suit the rhythmic, energetic nature of the music and which are closer to the averaged form of the marks entered into A.
The FE and EE1 versions resulted from inaccuracies or mistakes by the engravers, while in the case of EE2, also from inaccurate revision. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , Errors in EE , Inaccuracies in A