mUltimate Chopin

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

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b. 355

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

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In A Chopin forgot to write a  to the first L.H. note (d). The patent oversight (in this context) was corrected in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals , Errors of A

b. 358

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

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In the main text we add a cautionary  to e3.

category imprint: Editorial revisions

b. 359-360

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

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In A there is no  to the 4th quaver in bar 359 (b2). It was added in GE (→FE,EE,IE). The cautionary  to b2 at the beginning of bar 360 is missing too (Chopin wrote a respective accidental to the 2nd L.H. quaver). This accidental was added only in EE2. In the main text we include both. On the other hand, we omit – as it was done in GE (→FE,EE,IE) – the  to c3, the 6th quaver in bar 360, unnecessarily repeated in A.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Cautionary accidentals , Inaccuracies in A

b. 361-362

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

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In A Chopin wrote two cautionary accidentals – flats to e3 in bar 361 and to a2 in bar 362. In GE (→FE,EE,IE) naturals were also added, to c1 in bar 361 and to f3 in bar 362. We include all these accidentals in the main text; we also add a  to A in bar 362.
In bar 361 in A there is no  to the 4th quaver (f2). The inaccuracy was corrected in GE (→FE,EE,IE).

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

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

b. 362

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

No G1 in sources

Grace note G1 suggested by the editors
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The missing G1 note at the beginning of the bar seems Chopin's mistake, as it is present in analogous figures in bar 360 and 364. One can ponder whether the unwritten note was supposed to be an element of the octave, as in bar 360, or a grace note, as in bar 364; stylistic arguments are not enough to resolve this doubt. However, the latter seems more likely – in A the gap before the 1st note in bar 362 is clearly bigger than the resulting from the density of notation in this part of the page, which could be indicating an oversight of a planned element, e.g. a grace note.

category imprint: Editorial revisions