Issues : Errors in FE

b. 46-49

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

Long accents &  in GC (→GE)

Long accents in bars 46-47 in FE

5 short accents in EE1

6 short accents in EE2

Long accents in bars 47 & 49 suggested by the editors

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The differentiated source versions of the signs of a dynamic character – accents and  – is a result of overlapping of possible mistakes (e.g., no signs in FE in bars 48-49), inaccuracies (short accents in EE) and revision (repetition of the signs from the top stave on the bottom in EE1, addition of an accent in bar 48 in EE2), as well as Chopin corrections. The composer may have added signs in bars 48-49 in GC and he almost certainly completed the notation of EE, by adding in a copy of FE2, being the base text to this edition, an accent in bar 49 (together with cresc. - -). In the main text we suggest indications modelled after the similarly completed version of EE1 in bars 234-237, in which the indications added by Chopin do not interfere neither with the previous ones of FE, nor with the ones added by the reviser.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Errors in FE , Authentic corrections in GC , Authentic corrections of EE

b. 52

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

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In FE1 and GC the bottom note of the 1st chord in the R.H. is an erroneous a1. The erroneous notation must have been in [A], which is confirmed by an identical mistake in the recapitulation (bar 240). The patent mistake was corrected in the subsequent FE (→EE) and GE, which can be almost certainly ascribed to the revisers.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 54

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

No sharps in GC (→GE) & FE1 (→FE2EE1)

Sharps in FE3 (→FE4) & EE2

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In the main text, we include the added in the proofreading of FE3 (→FE4) – most probably by Chopin – sharps raising the f1-f2 grace note to f1-f2. According to us, it was probably a correction of a mistake. Similarly in the recapitulation – bar 242

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Errors in FE , Errors in EE , Errors in GE , Omission of current key accidentals , Authentic corrections of FE , Errors of GC

b. 57

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

Chord with c2 in GC & FE1 (→FE2EE1)

Chord with c2 in GE, FE3 (→FE4) & EE2

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The chord with c2, although completely possible from the harmonic point of view, is, however, most probably a result of Chopin's mistake, as the d-f-a-c (a-c-e-g) diminished four-note-chord introduces the B minor key, which Chopin indicated with an enharmonic change in the previous bar. In this context, an omission of a  is highly likely – cf. the note in bar 56. The natural added – probably by Chopin – in FE3 (→FE4) is, therefore, probably a correction of a mistake.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Last key signature sign , Errors of GC

b. 76-77

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

Pedalling in GC (→GE)

Pedalling in FE

Pedalling in EE

Pedalling suggested by the editors

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The  sign, written in the sources before the E1-E octave, was most probably supposed to conern the aforementioned octave (Chopin would often write the pedal's press sign before a low placed note). The notation of FE could be interpreted in such a way, however, in the remaining sources the  sign is clearly placed under the chord on the 2nd beat of the bar and not before the last octave. In the main text we correct this highly likely misunderstanding).

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

issues: Errors in FE , Errors of GC