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Issues : Authentic corrections in GC
b. 153
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of an accent in FE (→EE1), if not an oversight by the engraver, means that Chopin added the mark to GC (→GE). category imprint: Differences between sources issues: EE revisions , Errors in FE , Authentic corrections in GC |
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b. 155
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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g category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Inaccurate note pitch in A , Authentic corrections of FE , Authentic corrections in GC |
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b. 157-158
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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Taking into account the versions of FE and GC, one may assume that the slur of GC at the end of b. 157 could have been added by Chopin. The aim of that change was undoubtedly a slur encompassing the entire three-quaver motif (as it is 4 bars earlier), which was guessed in EE (the correction could have even been introduced by Chopin in the Stichvorlage for EE). GE reproduced the notation of GC literally, i.e. as coinciding slurs. category imprint: Differences between sources issues: Inaccuracies in FE , Embracing slurs , EE inaccuracies , Authentic corrections in GC , Uncertain slur continuation |
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b. 158-160
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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In the main text we include the category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 168
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In GC the bar is written in an abbreviated manner as repetition of the previous one. At the same time, one can see that initially the bar was completely overlooked, whereas a relevant abbreviation was written as an addition. It cannot be excluded that the mistake (or unclear notation) was also in [A]. If so, Chopin had to write a respective addition also there, as FE contains the correct number of bars. category imprint: Corrections & alterations; Source & stylistic information issues: Errors of A , Abbreviated notation of A , Authentic corrections in GC |