mUltimate Chopin

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

Text Compare Notes Sources Description
Page: 
Source: 
p. 15, b. 313-332
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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Graphic ambiguousness
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
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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Important
Main
Undo Clear
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  b. 328

in A

 in GE (→FE,EE,IE)

In GE (→FE,EE,IE) the beginning of the  hairpin was clearly moved towards the beginning of the bar. In this context, it does not influence the performance manner, yet it could suggest, to a certain extent, the range and amplitude of the crescendo.
Similarly, in bar 332.

Compare the passage in the sources»

category imprint: Differences between sources

issues: Scope of dynamic hairpins, GE revisions

notation: Articulation, Accents, Hairpins

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