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b. 175
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composition: (Op. 4), Sonata in C minor, Mvt I
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The change of the slur's range and place was an arbitrary decision of GE (→FE,EE,IE), in this case unjustified, according to us. See also the note in the next bar. category imprint: Differences between sources issues: GE revisions |
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b. 175
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the (cautionary?) category imprint: Editorial revisions issues: Cautionary accidentals |
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b. 176
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composition: (Op. 4), Sonata in C minor, Mvt I
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The beginning of the GE slur bears traces of corrections in print – one can see two tips of the slur – one suggesting that it should start from the 1st quaver, and the other one indicating the 2nd quaver. According to us, the longer slur, of a regular range (half a bar), was shortened due to the wedge over the 1st quaver. However, the correction was implemented inaccurately, as a result of which in the remaining editions – except IE, in which it was left out – the slur encompasses 4 quavers. In the main text we provide the A slur, running from the 2nd to the 5th quaver. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , GE revisions , Errors in IE |
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b. 177
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composition: (Op. 4), Sonata in C minor, Mvt I
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The staccato marks with which Chopin marked the sequence of thirds in A can be interpreted as dots or wedges. According to us, Chopin wrote dots, which he then turned into wedges, or the other way round – wedges that he tried to replace by dots. Taking into account category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Corrections in A , Wedges , Inaccuracies in A |
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b. 178
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composition: (Op. 4), Sonata in C minor, Mvt I
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In A there is not a single category imprint: Interpretations within context; Differences between sources |
before a1 in the 2nd half of the bar, which appears in all sources.
dynamics and the clear wedges over the chords marked with 
and 
in bar 178, we consider dots to be more likely as the final markings. However, the wedges present in the sources can be considered an equally valid variant.
(in various octaves) to a. This patent oversight in this structural context was corrected already in