mUltimate Chopin

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

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Page: 
Source: 
p. 8, b. 162-182
p. 1, b. 1-24
p. 2, b. 25-49
p. 3, b. 50-75
p. 4, b. 76-103
p. 5, b. 104-124
p. 6, b. 125-141
p. 7, b. 142-161
p. 8, b. 162-182
p. 9, b. 183-207
p. 10, b. 208-228
p. 11, b. 229-248
p. 12, b. 249-269
p. 13, b. 270-292
p. 14, b. 293-312
p. 15, b. 313-332
p. 16, b. 333-352
p. 17, b. 353-373
p. 18, b. 374-399
Main text
Main text
A - Autograph
GE - German edition
GE1 - First German edition
FE - French edition
FE1 - First French edition
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
IE - Italian edition
IE1 - First Italian edition
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A - Autograph
GE - German edition
GE1 - First German edition
FE - French edition
FE1 - First French edition
EE - English edition
EE1 - First English edition
EE2 - Corrected impression of EE1
IE - Italian edition
IE1 - First Italian edition
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  b. 172-175

Arrangement of voices in A

Arrangement of voices in GE (→FE,EE,IE)

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.

Compare the passage in the sources»

category imprint: Differences between sources

issues: GE revisions

notation: Rhythm, Shorthand & other

Missing markers on sources: A, EE2, EE1, IE1, GE1, FE1
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