Shorthand & other
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b. 94
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The first L.H. octave is written in A in shorthand with the help of 8. In GE (→FE,EE,IE) it was written out in full. category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
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b. 172-175
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we provide the L.H. part as written by Chopin in A. GE (→FE,EE,IE) arbitrarily changed the layout of the quaver beams and flags to make it symmetrical with the R.H. part. According to us, the notation used in the editions, although inauthentic, seems to be better suited for the representation of the organisation of voices in this place, in particular emphasising the sequence in the bass as a separate voice is more natural than emphasising the tenor voice. category imprint: Differences between sources issues: GE revisions |
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b. 215
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The notation of the 2nd L.H. crotchet is unclear in A – it seems that is has two stems, one pointing upwards, and the other one pointing downwards, as well as a wedge under the note. However, the alleged stem pointing downwards is probably only an element resulting from the motion of writing a note on a ledger line (cf. bars 9 and 12, as well as 133-134), hence we could assume that we are dealing here with an E category imprint: Graphic ambiguousness; Differences between sources issues: Wedges , Inaccuracies in A , Partial corrections |
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b. 295-296
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the R.H. part is written on the bottom stave. It is Chopin's oversight – on a new page of A (starting in bar 295), he probably forgot that he wanted to use both staves in this section – cf. the A notation from the middle of bar 292 to bar 294 and then in bars 297-305. Therefore, in our transcriptions we separate the parts of both hands in accordance with the way the remaining part of this theme was written down. This was already done in GE (→FE,EE,IE). category imprint: Source & stylistic information |
note provided with a wedge and with a stem pointing upwards. On the other hand, the version with a stem pointing upwards is incorrect in this case, while the wedge is questionable if we take into account the clear dots written under or over the bass notes in this and the next bars, which leads to the following hypothesis: Chopin wrote this E