Issues : Annotations in FED
b. 3
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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The fingering, added in pencil, most probably by Miss O'Méara, could have been indicated to her by Chopin. Similarly in the R.H. and in bars 4-5. category imprint: Differences between sources |
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b. 3
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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The fingering, added in pencil, most probably by Miss O'Méara, could have been indicated to her by Chopin. Similarly in the L.H. and in bars 4-5. category imprint: Differences between sources |
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b. 4-5
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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The fingering, added in pencil, most probably by Miss O'Méara, could have been indicated to her by Chopin. According to us, the numeral under the last quaver in bar 4 can be interpreted in two ways – as '4' or as '1'. category imprint: Graphic ambiguousness; Differences between sources |
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b. 33
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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The fingering, written probably by a pupil, can come from Chopin. category imprint: Differences between sources |
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b. 51
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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In FE there are no flats restoring g and g1 on the 5th quaver. As respective signs are before the 9th quaver (in all sources), the version, with g and g1 on the 5th quaver, formally does not contain a mistake. In spite of this, it seems to be much more likely that it is a mistake that happened to Chopin in [A] – in GC (→GE) the composer added the overlooked flats, the signs were also added in EE and FED, which, in both cases, may come from Chopin. Therefore, we are dealing with a too late placement of sign, which is not an isolated case – cf., e.g., the Etude in F major, Op. 10 No. 8, bar 43. In the main text, we do not include the superfluous flats in the 2nd half of the bar. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Omissions to cancel alteration , Authentic corrections in GC |