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b. 35
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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The version of EE was introduced – most probably by Chopin – in the base text to this edition. The version with d1 offers a more distinct harmonic progression of the accompaniment, in the version with f1 thanks to the omission of the doubling of the leading note, the sound of the ending of the bar is smoother. It cannot be excluded that Chopin was not entirely sure about each of these versions (Chopin's hesitation in a similar situation can be found in, e.g., the Nocturne in F category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of EE |
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b. 36
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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Same as in bar 31, the fingering in the L.H., which may come from Chopin, was written in FESch. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FESch |
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b. 36
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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Each of the source versions could have been intended by Chopin, yet only the authenticity of the version with mordent is unquestionable. On the other hand, the notation with the use of grace notes, present certainly in analogous bar 52, is clearly later. Taking the above into account, in the main text we suggest an ornament in the form of grace notes. category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Omitted correction of an analogous place , Authentic corrections of EE |
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b. 36
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In Amar g category imprint: Differences between sources; Corrections & alterations |
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b. 36-38
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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The differences in the slurring in the sources based directly on [A] – GC and FE – do not let an unanimous reproduction of the version of the Stichvorlage autograph. The version suggested in the main text is one of the possible reconstructions of the notation of [A], including a c2 grace note, added by Chopin in the proofreading of FE3 and in the base text to EE. The remaining versions of the sources, although they are most probably inaccurate, can be considered to be possible interpretations of this notation. The version of Amar is also worth paying attention to, undoubtedly authentic and natural, as far as the musical aspect is concerned. category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A |
minor, Op. 48 No. 2, bars 24 and 52). Similarly in bar 51. 
in 
in 
2 in the middle of the bar is provided with a staccato dot. In the final version Chopin most probably considered this indication to be excessive or simply unnecessary in the situation where the phrasing is already indicated with the slurs.
