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b. 143-144

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

..

In GC and FE (→EE1) there are no naturals raising e1 to e1 in the 3rd crotchet in bar 143 and e3 to e3 in the 6th quaver in bar 144. The first of them was added in FED, both were added in GE and EE2.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , GE revisions

b. 143-144

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

2 times g2 in the sources

2 times g2 suggested by the editors

2 times g2 precised by the editors

g2 & g2 – possible interpretation
..

The source text, when interpreted literally, features g2 notes on the 4th quaver of both bars. However, the appearance of g2 notes both directly before these bars and after them makes an accidental oversight of naturals before one or both of these notes likely. Therefore, we suggest three, according to us justifiable, versions clarifying the source text.

category imprint: Interpretations within context

issues: Inaccuracies in FE , Omission of current key accidentals , Inaccuracies in GC

b. 143-144

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

..

The crotchets in the L.H. in the 2nd half of each of these bars are written in the sources in the treble clef, which raises doubts, as far as the validity of the accidentals from the 1st half is concerned:

  •  before e1 in bar 143 is present in all sources;
  •  before e1 in bar 144 was added in GE, FE4 and EE2;
  •  before e in bar 144 appears only in GE.

In the graphical layout adopted in the main text the signs are not necessary.

category imprint: Differences between sources; Source & stylistic information

issues: EE revisions , GE revisions , Cautionary accidentals , FE revisions

b. 143

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

d1 in GC (→GE) & FE (→EE1)

d1 in EE2
..

Leaving aside the unorthographical notation, the version with d1 (=e1) is not excluded, as far as the sound is concerned. In spite of this, according to us, it is highly likely that the absence of the  returning d1 is Chopin's mistake. It is proved by:

  • the notation of bars 184-185, proving Chopin's care for a precise differentiation of the enharmonic notation of d and e;
  • a high number of situations, in which there is no sign in Chopin's pieces, cancelling the previous alteration; 
  • a flat restoring d1, added in EE in analogous bar 183; the base text to EE1 was corrected by Chopin, hence the addition can come from him.

In the discussed bar 143 a  before d1 is only in EE2. In turn, in GE2 a  was added before c1, which could be considered to be a mechanical error, if it was not for the fact that an identical addition was introduced in bar 183.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of GC

b. 143

composition: Op. 64 No 3, Waltz in A♭ major

b1 in As & FE (→EE)

b1 in A & GE
..

The missing  in A before the last quaver is probably Chopin's mistake – the sign is in As and it was added in the last proofreading of FE (→EE), not included in GE.

category imprint: Interpretations within context; Differences between sources

issues: Errors of A , Authentic corrections of FE