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b. 161

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

in GC (→GE) & EE2

No marking in FE (→EE1)
..

In the main text we include  written in GC (→GE) and then repeated in EE2. No sign in FE (→EE1) is probably an accident, as it seems to be highly unlikely that Chopin wanted to leave the idea of emphasising with a dynamic sign a place in which the melodic climax combines with a harmonic breakthrough (reaching the dominant in the general key). Cf. notes on  signs in bars 153-156 and 158-160.

category imprint: Differences between sources

b. 161

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

stretto from 3rd crotchet in GC (→GE)

stretto from beginning of bar in FE (→EE)
..

The minor difference in the placement of the stretto indication may be considered to be significant. According to us, its correct reproduction in GC is more likely, as the engraver of FE could have considered the shift of the sign to the beginning of the bar to be a routine action ordering the notation.

category imprint: Differences between sources

b. 161

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

..

The cautionary signs next to c3, e3 and c were added by us. In turn, the flats before g and g1 are present in all sources.

category imprint: Editorial revisions

b. 161

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

Third in GC (→GE) & FE2 (→EE,FE3→FE4)

Octave in FE1
..

The version of FE1 is most probably a mistake (corrected in FE2 and subsequent FE), as in GC one can see no traces of corrections in this place.

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 161-163

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

Slurs from 4th crotchet in the sources

Our alternative suggestion – slurs from 3rd crotchet
..

Starting from the second slur in bar 162, the slurring of the sources is compatible with the accents – the accents fall on the beginnings of the motifs separated with slurs. No such compatibility in the case of the second slur in bar 161 and first in bar 162 may be a result of their omission by Chopin, while he was making transition from triplet to phrasing slurs in [A]. Therefore, we suggest a unified phrasing slurring as an alternative to the source version.

category imprint: Interpretations within context