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Op. 35, Sonata in B♭ minor, Mvt III

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Verbal indications

b. 31

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

espress. in Amar

No indication in GC (→GE) & FE (→EE)
..

The espress. indication (i.e. espressivo), present only in Amar and placed somehow instead of  of the final version, suggests a performance of a slightly more distinct shape of the phrase (cf. bar 36). When performing the entire Sonata or Marche, such an interpretation can be, according to us, used in one out of two repetitions of these bars intended by Chopin (possibly also in bars 47-54). It can be also understood as an indication complementing the final dynamic indication.

 

category imprint: Differences between sources; Corrections & alterations

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. 56-60

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

No indication in GC (→GE) & FE1 (→FE2)

from bar 56 in FE3 (→FE4,FE5)

from bar 55 in EE
..

The cresc. indication was added – certainly by Chopin – in the proofreading of FE3 (in bar 56) and base text to EE (half a bar earlier).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of EE

b. 61-62

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

No markings in GC (→GE) & FE

 &  in EE1

 &  in EE2

Our variant suggestion with 

Our variant suggestion with 
..

The contrasting dynamic indications added in EE may come from Chopin, however, there are premises to suspect a possibility of a revision, adding an authentic crescendo. Due to this reason, we do not include them in the main text, however, we suggest alternative variant solutions.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of EE

b. 69

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

in GC (→GE) & FE1 (→FE2→EE1)

in FE3 (→FE4,FE5) & EE2
..

Chopin changed  to , while proofreading FE3 (→FE4,FE5). Together with the crescendo added in bars 56-60 the change indicates a different – enhanced or more contrasted – shaping of dynamics in the recapitulation of Marche. See also bars 61-62. 

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections of FE