mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt III

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b. 45

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

e in GC (→GE), FE1 (→FE2→EE) & FES

g in FE3 (→FE4,FE5)
..

Chopin most probably hesitated between e and g on the 2nd quaver in the L.H. Initially – in [A] and the sources based on it – he wrote an e, which he then changed to g in the proofreading of FE3. However, he deleted the latter in FES, restoring e. According to us, both versions are generally equal, whereas in the main text we give the version with which Chopin started and to which he probably eventually returned.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Chopin's hesitations , Annotations in FES , Authentic corrections of FE

b. 45

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

c2-b1 in GC (→GE), FE3 (→FE4,FE5) & EE

d2-c2 in FE1 (→FE2)
..

The version of FE1 (→FE2) is certainly a result of the mistake of the engraver, who repeated the crotchets from the previous bar.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 45

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

Long accent in GC & GE2

 in FE (→EE)

No sign in GE1 (→GE2mar)
..

It is not clear whether according to Chopin the sign at the beginning of the bar was supposed to be a long accent, as it can be considered on the basis of GC and GE2, or rather a diminuendo, as it was written in FE (→EE). Taking into account the fact that in each of the cases the sign refers to the R.H., the difference in the performance may be imperceptible. To the main text we adopt an interpretation of the base source, i.e. FE.
The absence of the sign in GE1 (→GE2mar) is undoubtedly an oversight.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Errors in GE , GE revisions

b. 45-46

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

  in GC

  in FE (→EE)

 & accent in GE1

  in GE2mar (→GE2)
..

The present in these bars pair of   hairpins shows significant differences, as far as the range of both signs in particular sources is concerned. In the case of the first of them, we consider only the differences concerning the moment of beginning of the sign to be significant. We consider the versions of GC and FE – sources based on [A] – to be equal variants, out of which we choose the version of the base source (FE) to the main text. The differences in the range of the  hairpin that do not exceed one quaver seem to be unimportant; only their reproduction in GE1 as an accent is certainly a mistake.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins , GE revisions

b. 46

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