mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt III

Text Compare Notes Sources Description

Issues : Authentic corrections of EE

b. 36

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

 in Amar, GC (→GE)

No ornament in FE

 in EE
..

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

b. 37

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

No  in Amar, GC (→GE) & FE1 (→FE2)

 in FE3 (→FE4,FE5) & EE
..

Chopin added the third grace note () in the proofreading of FE3 (→FE4,FE5) and in the base text to EE.

category imprint: Interpretations within context; Differences between sources

issues: Authentic corrections of FE , Authentic corrections of EE

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

b. 49

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

No ornament in GC (→GE) & FE

Grace-note in EE

Our variant suggestion
..

Chopin added the g2 grace note in the base text to EE, it is also present in the respective bar of Amar (cf. bar 33). In the remaining sources, the bar is an exact repetition of bar 33. Chopin would often use this kind of diversification of repeating motifs, cf., e.g., the Nocturnes in B major, Op. 32 No. 1, bars 22 and 43 and Op. 62 No. 1, bars 3-4, as well as the Concerto in E minor, Op. 11, 2nd mov., bars 33 and 41 (the bassoon part).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of EE

b. 51

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

d1 in GC (→GE) & FE

f1 in EE
..

Same as in bar 35, the version with  f1, most probably introduced by Chopin to the base text to EE, may be considered to be an equal variant.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of EE