mUltimate Chopin

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

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b. 218

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic R.H. fingering added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 220-221

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

2 staccato dots & slur in A, literal reading

2 wedges & slur in GE (→FE,EE,IE)

Dot & slur in A, possible interpretation

Slur in A, different interpretation

2 dots in A, contextual interpretation
..

According to us, when interpreted literally, the A notation is an example of an uncontrolled change to the concept of articulation markings (another example – see I mov., bar 102). Chopin probably wanted to replace one or both staccato dots with a slur or the other way round. We consider the latter to be more likely – initially, the composer wanted to diversify the bass articulation by writing slurs in bars 219-220 and 220-221; then he decided to use a slur only the second time, to emphasise the modulating B-c step, while in bar 219 he added dots. Therefore, in the main text we keep only the staccato dots, being probably the later concept.
The use of wedges in GE (→FE,EE,IE) was an arbitrary decision by the engraver of GE, as in bars 216-217.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Wedges , Partial corrections

b. 221-222

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

Staccato dots in A

Wedges in GE (→FE,IE)

No marks in EE
..

As in bars 216-219, the use of wedges in GE (→FE,IE) rather does not derive from the A notation. In EE the marks were overlooked.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in EE , Wedges

b. 221

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic R.H. fingering added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 224-225

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

..

In the L.H. part in EE1 in bar 224 the text of the next bar was printed (without performance markings and the ledger line for the 2nd crotchet). It resulted in an erroneous, although acceptable in terms of pitch, text in bar 244 (c-c1-b-b1) and in vague and rather illogical three first crotchets in bar 225, which are a1-a2-g2. It is difficult to say how the performers playing from EE1 dealt with this version, hence we do not try to create a content transcription in this case, which would be purely hypothetical.
As far as the remaining sources are concerned, in GE (→FE,EE,IE) a flat to the 3rd crotchet in bar 224 (g) and a flat to the 2nd crotchet in bar 225 (c1) were added, omitted in A.

category imprint: Interpretations within context; Differences between sources

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