Pitch
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b. 27-28
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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The version without the top notes of the chords, marked in FES in the three remaining analogous places (bars 19-20, 73-74 and 81-82) was certainly meant to be used also here. Therefore, we give a corresponding variant, subject to amateur performances only. category imprint: Interpretations within context |
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b. 28
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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Similarly as in bar 20, Chopin's mistake in [A] caused that the correct notation of the trill appeared in the editions – despite the proofreading of FE3 – only in GE2 and EE2. The mistake was corrected in all pupil's copies. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Errors in EE , Errors in GE , GE revisions , Annotations in FES , Authentic corrections of FE , Annotations in FESch |
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b. 30
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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It seems to be highly unlikely that the change introduced in the proofreading of FE3 (→FE4,FE5) would correspond to Chopin's intentions. The present in the remaining sources B category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Errors resulting from corrections , Authentic corrections of FE |
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b. 30
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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The written in FES version with a chromatic, quaver progression of the bass constitutes a diversification of the transition to the D category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants |
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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 |
1 & f1 in chords in 
) & f1 in 
minor, Op. 48 No. 2, bars 24 and 52). Similarly in bar 51. 