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b. 1-2
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The slur embracing the bass motif, visible in GC (→GE), was probably overlooked by the engraver of FE1 (→FE2→EE1). It was then added in the proofreading of FE3 (→FE4), probably as a result of Chopin's intervention. The sign was also added in EE2.
category imprint: Differences between sources issues: EE revisions , Errors in FE , Authentic corrections of FE |
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b. 1
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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It is hard to state which of the performance indications at the beginning of the Scherzo – Before the 1st crotchet of the piece, in GC one can see a deleted indication, probably risoluto. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Alterations in GC , Authentic corrections in GC |
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b. 1
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The accent could have been added by Chopin in [A] (→FE→EE) after GC had been already prepared and as such could represent the latest concept of determining the performance manner of the beginning of the Scherzo. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 1-30
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In GC bars 1-69 are provided with numbers (numbers of bars). The numeration is a part of the abbreviated notation of bars 189-257 as a repetition of a respective fragment of the initial section. This manner of notation, characteristic for Chopin, was certainly used also in [A]. category imprint: Source & stylistic information issues: Abbreviated notation of A , Authentic corrections in GC |
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b. 1
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In GE, there is a category imprint: Differences between sources issues: Errors in GE |
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