mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt III

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b. 43

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

Fingering written into FEsch

No teaching fingering
..

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

b. 43-64

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

..

Amar, the autograph of a fragment of the middle section of Marche, includes only bars 31-38, hence it is included in the notes only in these bars.

category imprint: Source & stylistic information

issues: Incomplete sources

b. 43

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

No markings in GC (→GE)

 in FE (→EE)
..

The change of pedal in the middle of the bar is, according to us, a mistake of the engraver of FE (→EE), who confirmed the pedalling of the previous bar. All similar bars – bars 31, 33, 39 and 41 – include a compatible, whole-bar pedalling in the sources.

category imprint: Differences between sources

issues: Errors in FE

b. 44

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

Dashes in GC (→GE)

No dashes in FE (→EE)

Our variant suggestion
..

The difference between GC and FE causes that it is hard to state what range of crescendo Chopin marked in [A]. According to us, both an inaccuracy of the engraver and the copyist is possible – bars 44 and 45 are visually very similar, in both sources the dashes were led to the end of the line of the text, perhaps following the layout of the text on the page. The stylistic criteria also do not clearly indicate one of the versions:

  • the target point of the crescendo can be the appoggiatura in bar 44 – the following after it appoggiatura in bar 45 is placed lower;
  • however, one can also imagine the crescendo until the  sign in bar 45, in which the ascending progression of the bass ends.

Due to these reasons, in the main text we suggest a variant solution.

category imprint: Differences between sources

b. 45

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

Grace note in GC (→GE) & FE

Double grace note in EE
..

Chopin introduced a double grace note in the base text to EE instead of a single one appearing in the remaining sources. The analogous motifs, ornamented as in the version of EE, are frequently to be found in Chopin's pieces, cf., e.g., Andante spianato from Op. 22, bars 30 and 32 and the Mazurka in G minor, Op. 24 No. 1, bar 62. In the 2nd movement of the Concerto in F minor, Op. 21 Chopin used an identical motif both with a double grace note (bar 32) and with a single one (bar 81).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of EE