mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt III

Text Compare Notes Sources Description

Issues : Errors in FE

b. 65-68

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

Pedalling in bar 65 in GC (literal reading)

Pedalling in bars 65-67 in GC (possible interpretation→GE1)

Pedalling in bars 65-68 in FE (→EE)

No markings in GE2mar

Pedalling in bars 11-12 in GC (contextual interpretation) & GE2
..

Due to the abbreviations used in the manuscripts (in bars 12-13) in the notation of bars 66 and 67, it is not clear in how many bars Chopin wanted to mark the pedalling. The possibilities of interpretation of the notation of [A], conveyed most probably by GC, were discussed in the first section of Marche – see bars 11-13. As far as the editions are concerned, only GE2mar and GE2 repeated the version from bars 11-14 here (different ones). FE (→EE) includes pedaling in up to four bars, which is certainly a mistake (cf. bar 68), while GE1 presents one of possible interpretations of GC.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Errors in GE , GE revisions

b. 68

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

..

FE1 (→FE2) features a D-G-d chord as the last crotchet. This patent mistake was corrected in FE3 (→FE4,FE5) and EE, as well as in FESch. An erroneous copying of the bottom stave from the previous bar in this bar is proved also by an unjustified repetition of pedalling.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Errors in FE , Authentic corrections of FE , Authentic corrections of EE , Annotations in FESch

b. 68-69

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

Slur in GC (interpretation) & GE2mar (→GE2)

Slur in GE1 & FE3 (→FE4,FE5)

Slurs in EE
..

The analysis of all four analogous places (bars 14-16, 22-24, 68-70 and 76-78) leads to a conclusion that the slur in GE1 and the same slur added in the proofreading of FE3 (→FE4,FE5) are probably inaccurate. In turn, the remaining two versions may be considered to be authentic – they are two most justified interpretations of the notation of GC. In the main text we give the version of EE, whose accordance with Chopin's idea is, according to us, most likely.
In FE1 (→FE2) there are no slurs at all, which is a patent error. 

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions , Authentic corrections of FE , Authentic corrections of EE

b. 70

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

End of slur in GC, literal reading (→GE1)

End of slur in GC (contextual interpretation→GE2mar→GE2) & FE3 (→FE4,FE5) & EE
..

In GC, same as in bar 16 (bar 70 is only marked as its repetition), the end of the slur may be interpreted in two ways. In the main text, we give a more likely, conventional interpretation of this detail, present in the majority of the editions – only in GE1 the end of the slur was reproduced literally, whereas in FE1 (→FE2) the slur in bars 69-70 was totally overlooked.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , GE revisions , Authentic corrections of FE , Authentic corrections of EE

b. 70-78

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

..

In [A] (→GC,FE) Chopin overlooked the bass clef at the end of bars 70 and 78. The signs were added in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions