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

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 93

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

 in A (literal reading→GE)

Longer  in FE & IE

Shifted  in EE

Long accent suggested by the editors
..

According to us, the  mark is to be interpreted here as a long accent. The literal interpretation, reproduced quite faithfully in GE, was gradually distorted by the subsequent editions, which made it increasingly different from the original notation.

category imprint: Differences between sources

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

b. 96-97

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

  in A

 in GE (→FE,EE,IE)
..

Adjusting the  hairpin to the quaver beam is a routine revision of GE (→FE,EE,IE). By contrast, the omission of the  mark can be attributed to the misunderstanding of A, in which the bottom arm of the hairpin is barely visible.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in GE

b. 97-98

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

  in A

No signs in GE (→FE,EE,IE)
..

The missing pair of the   marks must be an oversight by the engraver of GE (→FE,EE,IE).

category imprint: Differences between sources

issues: Errors in GE

b. 98

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

  in A

Longer   in GE (→FE,EE,IE)
..

In the main text we keep the range of the   hairpins visible in A. In GE (→FE,EE,IE) the range of both marks was adjusted to the quaver beams, which, in this case, does not significantly influence the meaning of these marks.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

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