Verbal indications
b. 265
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The mark seems absolutely clear in A; however, the engraver could have been confused by the delicate trace of the first, failed attempt to write it – it was only the second time that there was enough ink for an entire mark. category imprint: Differences between sources issues: Errors in GE |
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b. 266-268
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The missing cresc. at the end of bar 266 and 268 is almost certainly a revision by the engraver of GE, who made his work easier by omitting indications he considered pleonastic next to the hairpin. category imprint: Differences between sources issues: GE revisions |
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b. 279
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we keep the unconventional position of the ten. indication in A. Chopin most probably wanted to emphasise the need to hold, particularly, the e note, which does not stem from the GE notation at all (→FE,EE,IE). category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 294-295
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the sempre legato indication is written at the beginning of a new page, in bar 295. However, the way it was written may suggest that Chopin also wanted it to concern the preceding bar, which seems logical, since this is the first bar in which the figuration is devoid of a slur (cf., e.g. bar 164). Due to the above, in the main text we put it in bar 294. category imprint: Editorial revisions |
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b. 377-378
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composition: (Op. 4), Sonata in C minor, Mvt IV
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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 |