mUltimate Chopin

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

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b. 231

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

Slur to b3 in A, literal reading

Slur to a3 in GE (→FE,EE,IE)
..

As in bar 229, the A slur is probably inaccurate. In the main text we include its interpretation adopted by GE (→FE,EE,IE).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 233

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

Slur from a in A, literal reading

Slur from f in GE (→FE,EE,IE)
..

The interpretation of the slur adopted to the main text is based on the assumption that the slur is more or less symmetrical with respect to the notes it encompasses. Therefore, we interpret both ends as encompassing the outermost notes. However, as many slurs in the Sonata do not meet this assumption, the version of GE (→FE,EE,IE) can be considered an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A

b. 233-234

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

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. 234

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

..

In the main text we add a cautionary  to c1.

category imprint: Editorial revisions

b. 236

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

b1 in A (→GE→EE1,IE), literal reading

b1 in FE & EE2
..

It seems highly unlikely that the literal interpretation of the A version (→GE,EE1,IE) could have been intended by Chopin, particularly since the issue indirectly concerns also the pitch of the last quaver in the bar (b2 or b2?). Since bar 229, the key of F has been valid, while the harmonic sequence is aimed at its unambiguous confirmation in bars 239-241. In this context, the use of a C7< chord would be highly unconventional, especially considering the harmonic language of the Sonata. Therefore, in the main text we include the correction introduced by FE and EE2, resulting in a dominant chord with minor seventh, most natural in this context.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Omissions to cancel alteration , Errors of A , FE revisions