mUltimate Chopin

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

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b. 358

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

..

In the main text we add a cautionary  to e3.

category imprint: Editorial revisions

b. 359-360

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

..

In A there is no  to the 4th quaver in bar 359 (b2). It was added in GE (→FE,EE,IE). The cautionary  to b2 at the beginning of bar 360 is missing too (Chopin wrote a respective accidental to the 2nd L.H. quaver). This accidental was added only in EE2. In the main text we include both. On the other hand, we omit – as it was done in GE (→FE,EE,IE) – the  to c3, the 6th quaver in bar 360, unnecessarily repeated in A.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Cautionary accidentals , Inaccuracies in A

b. 360

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

below L.H. in A

 over L.H. in GE (→EE)

No sign in FE

over L.H. in IE
..

In the main text we reproduce the  hairpin after A, under the L.H. passage. In GE (→EE,IE) it was moved to between the staves while changing its range, which was forced by the lack of space. In FE the mark was overlooked.

category imprint: Differences between sources

issues: Placement of markings , Scope of dynamic hairpins , GE revisions

b. 360-363

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic L.H. fingering added by EE in bars 360 and 362-363.

category imprint: Differences between sources

issues: EE revisions

b. 360

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

Slur from 2nd to 6th quaver in A, literal reading

Slur from 1st to 7th quaver in GE (→FE,EE,IE)

Slur from 2nd to 7th quaver, our alternative suggestion
..

The range of the slur A raises doubts. While the end of the slur can be safely regarded as imprecise, the moment of its beginning is not clear, if we take into account the notation of bars 10, 12 or 193. For this reason, we consider two possibilities probable, of which we propose a whole-bar slur for the main text, because the situation in neither this nor the following bars is fully analogous to the aforementioned bars of the main theme of the finale, and it is not certain whether Chopin wanted to suggest here the separation of the initial octave (cf. the similar-looking slur in bar 362, in which the texture does not suggest separation). This is also how it was reproduced in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , GE revisions