mUltimate Chopin

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

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b. 229-230

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

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In each of these bars in the main text we add a cautionary  to the bottom note of the 3rd L.H. quaver (b and b1) and to the top note of the 7th R.H. quaver (b2 and b3). The R.H. accidentals were also added by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 229

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

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In A Chopin forgot to write a  to the last R.H. quaver, raising b2 to b2. The patent mistake – cf. the next bar, featuring a respective  – was rectified already in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A

b. 230-231

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

No slurs in A

Slurs in GE (→FE,EE,IE)
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The sequence of pairs of chords present in these bars is a literal transposition of the sequence from bars 229-230. However, unlike that sequence, the discussed bars are devoid of slurs. According to us, it does not mean that they should be performed differently, as the slurs in bars 229-230 are to be considered a model to be followed also in these bars. To avoid any doubts, in the main text we add respective slurs, compliant with the GE revision (→FE,EE,IE).
In addition, Chopin omitted the slur over the topmost pair of thirds in bar 231. In the main text we also add this slur, as the reason for it having been omitted was almost certainly lack of space under the octave sign – cf. the note on bars 232-236. This slur was already added by GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 231-232

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

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The sources do not include naturals to b2 in bar 231 and to b3 in bar 232, which is due to the fact that the rules of validity of accidentals when using an octave sign are different in the sources than in our edition. See also bar 235.

category imprint: Interpretations within context

issues: Accidentals in different octaves

b. 231-239

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

con forza in b. 231-232 in A, contextual interpretation

con forza in b. 239 in A (possible interpretation→GE→FE,EE,IE)
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The con forza indication is written in A between the bottom stave in bars 231-232 and the top stave in bar 239. Under this indication, and over the R.H. part in bar 239, one can see traces of removal of a mark, probably a verbal indication or, e.g. . This suggests that Chopin changed his mind and replaced the deleted mark by con forza (added over it). This is how it was interpreted by GE (→FE,EE,IE). However, according to us, it is likely that the erasure was not related to con forza, which could have been added earlier and concerned the L.H. octave phrase in bars 231-232. Such an interpretation is strongly supported by the comparison with bars 73-74, in which an almost identical L.H. phrase is provided with con forza. Taking into account the fact that this indication suits bars 231-232 much better (musically speaking), to the main text we adopt the second interpretation.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Corrections in A , Inaccuracies in A