mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt IV

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b. 42

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

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FE1 (→FE2) has an erroneous e as the 7th quaver in the L.H. The mistake was corrected both in the proofreading of FE3 (→FE4→FE5) and in the base text to EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , FE revisions

b. 46

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

10 bars in GC (→GE) & FE1 (→FE2)

8 bars in EE, FE3 (→FE4) & FESch
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Between bars 46 and 47, GC (→GE) and FE1 (→FE2) include another two bars, identical to bars 9-10. It is probably a result of a mistake at the time of performing an abbreviated marking of bar 39 and following with numerals as repetitions of the respective bars of the beginning – Chopin marked 10 bars in this way instead of eight. The composer removed the superfluous bars in the proofreading of FE3 and in the base text to EE, he also deleted them in FESch and two (according to Mikuli) pupil's copies, belonging to Fryderyka Streicher and Marcelina Czartoryska. 

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Errors of A , Authentic corrections of FE , Authentic corrections of EE , Changed phrase length , Annotations in FESch

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