mUltimate Chopin

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

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Verbal indications

b. 118-119

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

in b. 119 in sources

 in b. 118 suggested by the editors

 in b. 118, our alternative suggestion
..

The position of the  mark in the sources is illogical – under a tied note. According to us, it is Chopin's mistake, and the mark was supposed to be entered half a bar earlier, that is when this octave is played by the L.H., which we suggest in the main text – cf. analogous bar 110 and 114, as well as 319. As an alternative suggestion, we provide a  here, which, judging from the markings in the aforementioned bars, could have been intended by Chopin (in this place, the marking denotes a momentary increase in sound intensity – an accent – rather than the general level of dynamics, marked already by  in bar 116).

category imprint: Editorial revisions

issues: Errors of A

b. 172

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

energico between staves in A

energico below L.H. part in GE (→EE,IE)

No indication in FE
..

A look at the dense GE1 notation allows us to say that the energico indication was placed in GE (→EE,IE) under the L.H. part only due to the lack of space between the staves. In FE the indication was omitted, probably due to inadvertence.

category imprint: Differences between sources

issues: Errors in FE , GE revisions

b. 194-195

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

 & cresc. in A

 in GE (→FE,EE,IE)
..

In the main text we reproduce the dynamic markings after A. The GE version (→FE,EE,IE) constitutes an inaccurate and simplified image thereof, typically adjusting – inaccurately – the range of the  hairpin to a clear rhythmic structure, which in this case is a bar.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 198

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

in A

No indication in GE (→FE,EE,IE)
..

In the main text we provide the  indication as it was written in A. Its absence in GE (→FE,EE,IE) could be explained by an oversight by the engraver or by a revision due to incompliance with the markings in analogous bar 15. Taking into account this incompliance, according to us, the version of the editions may be considered an acceptable variant.

category imprint: Differences between sources

b. 224-225

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

..

In the L.H. part in EE1 in bar 224 the text of the next bar was printed (without performance markings and the ledger line for the 2nd crotchet). It resulted in an erroneous, although acceptable in terms of pitch, text in bar 244 (c-c1-b-b1) and in vague and rather illogical three first crotchets in bar 225, which are a1-a2-g2. It is difficult to say how the performers playing from EE1 dealt with this version, hence we do not try to create a content transcription in this case, which would be purely hypothetical.
As far as the remaining sources are concerned, in GE (→FE,EE,IE) a flat to the 3rd crotchet in bar 224 (g) and a flat to the 2nd crotchet in bar 225 (c1) were added, omitted in A.

category imprint: Interpretations within context; Differences between sources

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