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b. 161

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

 on 3rd crotchet in GC (→GE)

 on 4th crotchet in FE (→EE)
..

In the main text we give the pedalling of FE (→EE), compatible with the harmonic narrative and subsequent repetitions of similar figures.

category imprint: Differences between sources

issues: Inaccuracies in GC

b. 161-164

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

8 different accents in GC

5 different accents in FE

8 different accents in GE

6 short accents in EE1

8 short accents in EE2

8 long accents suggested by the editors
..

The accents in GC are of different length, which, considering the similarity of the motifs, is most probably an inaccuracy. In the main text we adopt long accents, which prevail in the notation. All the versions of the editions are most probably a result of an inaccuracy or revision.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , EE revisions , Errors in FE , Inaccuracies in GE

b. 161-162

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

d-g in GC & FE1

d-g with tie in GE

c-g in FE2 (→EE,FE3→FE4)
..

The version with d as the lower note of the L.H. dyads in the middle of each of these bars, although seemingly erroneous (cf. an analogous figure at the turn of bar 163), may have occurred in [A] since both the copyist and the engraver of FE1 twice read it this way. The notation in the autograph was possibly unclear here, e.g. as a result of some corrections making it difficult to discriminate between visually similar figures (cf. a mistaken slur in the adjacent figure). Stylistic arguments favour the version with c – repeating the note d results in an irregularity:

  • of voice leading – in bars 161-164 all the other pairs of octaves are accompanied by a parallel voice a third or sixth apart;
  • of pianistic texture – in the remaining L.H. dyads the common notes are always tied.

The tie between both notes d in bar 161 is almost certainly an arbitrary addition by GE.

Therefore, we regard as correct only the version with c introduced into FE2.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions , Errors of GC

b. 161-165

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

..

In the main text, we add cautionary flats before a1 in bars 161, 163 and 165. All signs were added already in GE1op (→GE2op→GE3op), GE2Ab and EEW2, in turn, in EEW1 only the first two were added, whereas in GE1Ab – only the last one.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 161-165

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

3 slurs in A (→FE→GE1op,GE1Ab)

4 slurs in EEC

3 slurs in EEW1 (→EEW2)

1 slur in GE2op (→GE3op) & GE2Ab
..

In the main text, we give the undoubtedly authentic slurring of A (→FE→GE1op,GE1Ab). The same slurring was inaccurately reproduced in EEC. In turn, two remaining versions bear traces of intentional changes, arbitrary, although, from the practical point of view, quite accurate (particularly EEW).

category imprint: Differences between sources

issues: EE revisions , GE revisions , EE inaccuracies