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

Autograph fair copy, a Stichvorlage for GE1. Although generally elaborate, with a significant number of performance markings, A is not free from mistakes, oversights and other inaccuracies (above all, in terms of accidentals and slurring). More information – see the description of A in the 1st mov. of the Sonata. Some dynamic markings were probably added to the already finished text (as part of a kind of self-revision), which is indicated by the visible differences in the size and form of particular signs.

The following are particularly noteworthy:

• the way of writing long accents, not yet fully formed, often placed  a f t e r  the accented note – cf. bars 108-109, as well as e.g. bars 33-39 or 72 & 74;
• the use of an octave sign, more often than usual, sometimes even over notes on bottom ledger lines, which is caused by the lack of space between great staves – cf., e.g. bars 333-334 or 356-357;
• liberal approach to accidentals, which often seem to be valid in all octaves (e.g. in arpeggios in bars 187, 193 and 195). As an example, we could take the notation of octaves, in which both accidentals are rather an exception (e.g. bars 13-14 and 196-197 or 118-123);
• liberal approach to slurs, whose range or presence are often determined not by the articulation or structure of a phrase or motif, but by graphic issues – Chopin simply omitted places in which writing a slur would be difficult or impossible, cf., e.g. bars 96-97, 195 or 214.

A includes annotations performed by a foreign hand: numerous engraving marks, in pencil and in red crayon, and also a number of pencil accidentals of uncertain origin and purpose – see bars 12-14. One may also suspect that some of the ink notes, indistinguishable at first glance from the main script, do not originate from Chopin either, e.g. the small cross above the staff in bar 180.