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b. 198-200
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we suggest pedal markings after the analogous fragment in the exposition (bars 20-22, cf. also bars 34-36). category imprint: Editorial revisions |
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b. 199-200
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we keep the A notation, as in the entire theme the A slurs are much less numerous than in the exposition – e.g. the L.H. slurs in bars 195-197 and 201-202 are absent. category imprint: issues: GE revisions |
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b. 201-204
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the inauthentic R.H. part fingering added by EE in bar 201 and 204. category imprint: Differences between sources issues: EE revisions |
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b. 202
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A one can see traces of removal of the g2 minim in the 1st chord and of the f category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 202
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A the arpeggio wavy line is written on the right of the chord, which, according to us, does not influence the meaning of this mark. We reproduce this notation only in the graphic transcription (version "transcript"). The editions placed the mark in its regular position, before the chord. This kind of notation is to be occasionally found in other pieces by Chopin, e.g. in the Polonaise in C minor, Op. 40 No. 2, bar 52. Similarly, in bar 215, as well as in IV mov. of the Sonata, bar 6. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Inaccuracies in A |
2 crotchet in the second one.