mUltimate Chopin

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

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b. 246

composition: (Op. 4), Sonata in C minor, Mvt I

..

Chopin initially wrote the c3 note in the 2nd quaver in the bar as d3, which required the use of  for the next quaver (d3). After changing the 2nd quaver to c3, this already superfluous  was not removed, while the editions supplemented it with a  to d2. In the main text we do not include these accidentals.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , GE revisions , Cautionary accidentals , Enharmonic corrections

b. 246

composition: (Op. 4), Sonata in C minor, Mvt I

No markings in A

Wedges & slurs in GE (→FE,EE,IE)
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In the main text we do not include the wedges and slurs added by GE (→FE,EE,IE) to the L.H. part after the markings present in these editions in the R.H. part – see the note on slurs in bars 245-247. It is difficult to say why the markings were added only just in this bar.

category imprint: Differences between sources

issues: GE revisions

b. 247-248

composition: (Op. 4), Sonata in C minor, Mvt I

No fingering in A (→GE→FE,IE)

L.H. fingering in EE1

Fingering in both hands in EE2
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In the main text we do not include the inauthentic fingering added first by EE1 and then by EE2.

category imprint: Differences between sources

issues: EE revisions

b. 247

composition: (Op. 4), Sonata in C minor, Mvt I

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In EE the 3rd R.H. quaver is preceded by a  instead of a . Neither EE1 nor EE2 noticed the patent mistake, despite the fact that EE2 added fingering over the next note.

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE , Errors repeated in EE

b. 248

composition: (Op. 4), Sonata in C minor, Mvt I

..

In A one can see traces of removal (erasure) of the slurs combining each of the grace notes with the respective main notes. Perhaps Chopin did not want to suggest an unisono performance of this bar (with tenth leaps in both hands), as he allowed for the possibility of playing the e-e1 octave with the R.H., while the C-c one with the L.H.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A