mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt IV

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b. 46

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

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FE1 has an erroneous g as the 3rd quaver in the L.H. in bar 46+1. The correction of this mistake in FE2 was almost certainly performed by the reviser, as in the proofreading of FE3 Chopin deleted this bar, as well as the next one.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , FE revisions

b. 46

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

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In GE before the 7th quaver in bar 46+1, sharps raising c1-c2 to c1-c2 were arbitrarily added.

category imprint: Differences between sources

issues: GE revisions

b. 47

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

c1-c2 in the sources (literal reading)

c1-c2 (possible interpretation)

Our variant suggestion
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The first quaver of the last triplet, c1(2), may be perceived as strange, if we consider that the a-f sixth, ending the 1st half of the bar, determines the return of the B minor key, in which it is c1(2) that is a diatonic note. However, it is not obvious, moreover, the B minor key does not exclude the use of a lowered second degree. The validity of the assumption that Chopin forgot to cancel the flats from the 1st half of the bar becomes even more questionable if we take into consideration the interval structure of the 2nd and 4th triplets in bar 47 and the 2nd, 3rd and 4th triplets in bar 48 – at the beginning of each of them (except for the discussed one) there is a minor second. In this case, in the main text we leave the version of the sources, suggesting possible conjectures as alternative versions. 

category imprint: Interpretations within context; Editorial revisions

issues: Omissions to cancel alteration , Errors of A

b. 49

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

f1(2)-e1(2) in GC (→GE) & FE (→EE)

f1(2)-e1(2) in FES

Our variant suggestion
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The flats added in FES seem to be written by two persons, out of which one could have been Chopin. The variant fits well into the figuration structure manner present in, e.g., bars 57-58. Next to two source versions, we suggest a text signalising both possibilities.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FES

b. 50

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

b-b1 in the sources (literal reading)

b-b1 (possible interpretation)

Our variant suggestion
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A number of editors of later collective editions considers the absence of the flats restoring b(1) at the end of the bar to be an oversight of Chopin, which, of course, cannot be excluded. An argument for an oversight could be a vast majority of minor seconds in the motivic structure of the Finale, particularly in similar figures (bars 5, 7, 16, 24-26, 28-30, 35-38, 43, 45, 50, 51-56, 60), which is, however, difficult to be considered to be conclusive. In the main text we suggest a variant solution.

category imprint: Interpretations within context; Editorial revisions

issues: Omissions to cancel alteration , Errors of A