mUltimate Chopin

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

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 107

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

No marks in A

Wedges in GE (→FE,EE,IE)
..

In this context, the missing wedges in A in the 2nd half of the bar must be considered Chopin's oversight, hence in the main text we include the marks added in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 108-109

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

,  & > in A, literal reading

Long accents in A, contextual interpretation

6  in GE (→IE)

6  in FE

3  in EE1

4  in EE2
..

All marks in the form of  or of accents entered into A must have the same meaning in this context. This is a very significant argument for the interpretation of such marks we adopted to the entire Sonata (and more). In GE they were reproduced as , which does not differ much from the A notation (except the first and third R.H. marks), yet, according to us, it does not accurately convey their meaning. In the main text we reproduce them in a standardised form as long accents, which better suit the rhythmic, energetic nature of the music and which are closer to the averaged form of the marks entered into A.
The FE and EE1 versions resulted from inaccuracies or mistakes by the engravers, while in the case of EE2, also from inaccurate revision. 

category imprint: Graphic ambiguousness; Differences between sources

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

b. 110

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

3 vertical accents in A

Wedge & 2 accents in GE (→IE)

Dot & 2 accents in FE

2 accents in EE
..

The staccato mark instead of an accent resulted from a mistake by the engraver of GE, who considered the small and careless accent mark to be a wedge. In FE it was reproduced – probably also by mistake – as a dot, while in EE it was most probably overlooked.

category imprint: Differences between sources

issues: Errors in EE , Errors in GE , FE revisions

b. 110

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

 in A (literal reading→GE→FE,EE,IE)

Long accent in A, contextual interpretation
..

In GE (→FE,EE,IE) the unquestionable long accent (considering the context) – cf. analogous bar 114 – was literally reproduced as a half-bar .

category imprint: Differences between sources

issues: Long accents

b. 111

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

No marks in A

Vertical accents in GE (→FE,EE,IE)
..

The version of the editions can be regarded as justified and considered an acceptable variant – in A the discussed bar opens a new line, and it cannot be ruled out that Chopin forgot to write accents there. In the main text we keep the A notation, as the accents in the preceding bar can be considered models for the entire ascending sequence; moreover, taking into account the crescendo, a performance featuring accents is obvious.

category imprint: Differences between sources

issues: GE revisions