mUltimate Chopin

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

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b. 81

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

Slur in A, contextual interpretation

2 slurs in GE

2 slurs in FE & EE

Slur & tie in EE
..

The A slur in the 1st half of the bar is written under the top voice quavers; when interpreted literally, it seems that it starts from the second one (c2) or from the g1 minim. It must be Chopin's inaccuracy – cf. numerous appearances of this motif, e.g. in the 2nd half of the bar – hence we interpret it as a half-bar slur concerning the top voice. This is how this slur was interpreted by GE; however, it was mistakenly reproduced there twice – over the quavers and almost horizontally under the quavers, which makes it resemble a tie to g1. In the remaining editions both slurs were repeated, but it was assumed that the bottom slur/tie refers to the bottom voice minims, which resulted in two completely arbitrary versions – with a slur concerning g1-f1 in FE and IE and with a tie to g1 in EE.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Inaccurate slurs in A , Errors in GE , FE revisions

b. 94

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

Dotted minim & crotchet in sources

Semibreve suggested by the editors
..

As in bar 59 and 66, in the main text we simplify the Chopinesque notation after similar bar 90 and 92. The original notation can be a remaining element of the abandoned version featuring a repetition of the chord on the 4th crotchet in the bar.

category imprint: Editorial revisions

b. 96

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

..

As Chopin wrote the top voice quavers first, there was no space left for the minim prolonging the sound of the first one. He wrote it only under c2, as the natural and the notehead of the b1 quaver made it impossible to place it closer to the 1st quaver. This misleading notation, suggesting that a1 should be played again with the c2 quaver, was repeated this way by all editions.

category imprint: Graphic ambiguousness; Interpretations within context

issues: Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE , Errors repeated in IE

b. 104

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

e1 repeated in A

e1 tied in GE (→FE,EE,IE)

e1 tied, our variant suggestion
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The consistent complementary rhythm in analogous bar 102 and 66 and 226 suggests that Chopin overlooked the tie to e1. Therefore, in the main text we suggest adding it, in accordance with the version of the editions.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Errors of A

b. 108

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

One-voice notation in A

Two-voice notation in GE

Two-voice notation in FE, EE & IE
..

In the main text we keep the A notation, often used by Chopin in his mature works, where he forgoes polyphonic accuracy for the sake of simplicity of notation. The GE notation proves a revision performed in print – quavers with stems pointing downwards were added to the already printed text, compliant with A, in order to rhythmically fill the bottom voice. This illogical notation was changed in all the remaining editions based on GE.

category imprint: Differences between sources

issues: EE revisions , GE revisions , FE revisions