mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt III

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 27-28

composition: Op. 35, Sonata in B♭ minor, Mvt III

a1 & f1 in chords in GC (→GE1) & FE (→EE1)

a1 (with cautionary ) & f1 in GE2mar (→GE2) & EE2

No a1 & f1 implicitly in FES
..

The version without the top notes of the chords, marked in FES in the three remaining analogous places (bars 19-20, 73-74 and 81-82) was certainly meant to be used also here. Therefore, we give a corresponding variant, subject to amateur performances only.

category imprint: Interpretations within context

b. 28

composition: Op. 35, Sonata in B♭ minor, Mvt III

..

Similarly as in bar 20, Chopin's mistake in [A] caused that the correct notation of the trill appeared in the editions – despite the proofreading of FE3 – only in GE2 and EE2. The mistake was corrected in all pupil's copies.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Errors in EE , Errors in GE , GE revisions , Annotations in FES , Authentic corrections of FE , Annotations in FESch

b. 30

composition: Op. 35, Sonata in B♭ minor, Mvt III

B with slur in GC (→GE)

B in FE1 (→FE2→EE) & FES

d in FE3 (→FE4,FE5)
..

It seems to be highly unlikely that the change introduced in the proofreading of FE3 (→FE4,FE5) would correspond to Chopin's intentions. The present in the remaining sources B-A step of the enforced with octaves bass constitutes here the essence of the transition, introducing the middle section in the D major key. The importance of this step is emphasised by the slur in GC. It is likely that at the time of this correction a kind of misunderstanding arose (cf. the commentary to bar 20 and analog.). In two pupil's copies – one with B (FESch) and one with d (FED) – there are no corrections, yet in FES Chopin changed d to B. See also bar 84. 

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Errors resulting from corrections , Authentic corrections of FE

b. 30

composition: Op. 35, Sonata in B♭ minor, Mvt III

Crotchet in GC (→GE) & FE (→EE)

Quavers in FES
..

The written in FES version with a chromatic, quaver progression of the bass constitutes a diversification of the transition to the D major section, referring to the ending of bar 22, same as the original transition refers to bar 14.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants

b. 35

composition: Op. 35, Sonata in B♭ minor, Mvt III

d1 in Amar, GC (→GE) & FE

f1 in EE
..

The version of EE was introduced – most probably by Chopin – in the base text to this edition. The version with d1 offers a more distinct harmonic progression of the accompaniment, in the version with f1 thanks to the omission of the doubling of the leading note, the sound of the ending of the bar is smoother. It cannot be excluded that Chopin was not entirely sure about each of these versions (Chopin's hesitation in a similar situation can be found in, e.g., the Nocturne in F minor, Op. 48 No. 2, bars 24 and 52). Similarly in bar 51. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of EE