mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt III

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b. 15-16

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

End of slur in GC, literal reading

End of slur in GC (contextual interpretation→GE) & FE (→EE), contextual interpretation
..

In bar 16, the first in a new line, in FE (→EE) there is no ending of the slur started in bar 15, which is a patent mistake. We reconstruct the overlooked ending on the basis of analogous bars 24, 70 and 78.
The ending of the slur in GC, interpreted literally, may be interpreted as a "tenuto-slur," frequently used by Chopin. However, the comparison with a similarly ended slur in bar 18 proves that the shift of the ending of the slur beyond the chord in the middle of bar 16 is probably only a writing manner, devoid of significance. In the main text, we give a slur ended in a conventional way, in accordance with GE and the reconstructed version of the remaining editions.
Similarly in bars 23-24, 69-70 and 77-78.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , EE inaccuracies , Inaccuracies in GC

b. 16

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

Fingering written into FES

No teaching fingering
..

In the main text we include the fingering written in FES, which may come from Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 16

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

..

At the end of the bar, in the part of the L.H., Chopin deleted the  in GC misplaced before c1 and he wrote the sign before a.

category imprint: Source & stylistic information

issues: Alterations in GC , Authentic corrections in GC

b. 16

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

 in GC & GE2mar (→GE2)

 in FE (→EE)

Accent in GE1
..

It is not clear which of the sources based directly on [A] – GC and FE1 – conveyed the range more accurately and, as a consequence, also the sense of the  hairpin. Both versions have their stylistic advantages and can be convincingly justified, as far as the source aspects are concerned: 

  • The sign in FE clearly emphasises the culminant appogiatura of the melodic line. Chopin could have added it in [A] already after having prepared GC.
  • The sign in GC extends the culmination's release into the entire bar, somehow considering the counterpointing part of the L.H. The sign could have also been added by Chopin, if in [A] there were initially no dynamic signs here.

In the main text we give the  sign according to the base source, i.e. FE. The version of GC can be considered to be an equal variant.

The accent in GE1 is undoubtedly a result of misunderstanding of the notation of GC, which was corrected in GE2mar (→GE2).

Similarly in bars 24, 70 and 78.

category imprint: Interpretations within context; Differences between sources

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

b. 16

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

..

In [A] (→GC,FE) Chopin overlooked the bass clef. The sign was added in GE and EE. Similarly in all repetitions of this place.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Errors of A , Errors of GC