mUltimate Chopin

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

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b. 161

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

Quaver in A

Minim in GE (→FE,EE,IE)
..

The extension of the c quaver introduced by GE (→FE,EE,IE) seems logical if we take into account the notation of similar figures in bars 159-165, in particular these strictly analogous at the beginning of bar 163 and 165. Therefore, one could assume Chopin's oversight if it were not for the visible traces of removal of an element of notation in A, corresponding to the additional c minim. Therefore, in the main text we keep the A notation, probably intended by Chopin.

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

issues: Corrections in A , GE revisions

b. 162

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

f1 repeated in A

f1 tied in GE (→FE,EE,IE)
..

The version with tied f1 is due to an arbitrary revision of GE (→FE,EE,IE), perhaps introduced under the influence of bar 161, which features a slur of a similar range. Repeating f1 cannot be a mistake – similar six-note motifs starting from a repeated note are also present in bars 160-161 and 163-166.

category imprint: Differences between sources

issues: GE revisions

b. 168

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

Notation in A, literal reading

A (probable interpretation→GE→FE,EE,IE)

A, possible interpretation
..

In the 1st half of the bar Chopin wrote in A two versions of the harmonic legato, overlapping – holding B as a crotchet and f as a double-dotted crotchet (as at the beginning of the next bar) and holding B as a minim (as in the remaining adjacent figures). These versions were probably entered at a different time with the intention of one replacing the other, which Chopin eventually forgot to do. To the main text we adopt the second version, which more naturally combines with the authentic half-bar pedal; we suggest the first one – after removing the erroneous 2nd dot prolonging the f crotchet – as an alternative solution. The version as in our main text is also to be found in the first editions.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Corrections in A , Errors resulting from corrections , GE revisions , Rhythmic errors , Errors of A

b. 170

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

f3 repeated in A, original notation

f3 tied in GE (→FE,EE,IE)

f3 repeated, notation suggested by the editors
..

The A notation is overly complicated here (perhaps due to corrections), which hampers the interpretation. In the main text we replace it by a version that clearly shows which notes are to be played and how long they are to be held. This kind of notation, in which one key press corresponds to – if possible – one note, was willingly used by Chopin, cf., e.g. bar 80, L.H. or IV mov., bar 386, R.H. In GE (→FE,EE,IE) the A version with a tie to d3 was arbitrarily supplemented with a tie to f3, as a result of which the note on the 3rd quaver in the bar was not played.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 226

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

..

Due to the reasons discussed in analogous bar 66, in the main text we add a dot prolonging the g1 crotchet, left out by the sources, probably by inadvertence.

category imprint: Editorial revisions

issues: Errors of A