mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt III

Text Compare Notes Sources Description

Issues : Chopin's hesitations

b. 4

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

No grace note in GC (→GE)

Grace note in FE (→EE)

Our variant suggestion
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It is not clear whether Chopin wanted to have a grace note already in this bar – it appears without any doubts in bars 10, 22, 30 and analog. The ornament was deleted – most probably by Chopin – in GC, yet it remained in FE despite a few corrections and visible traces of development in pupil's copies. Due to these reasons, in the main text we suggest a variant solution.

category imprint: Differences between sources; Editorial revisions

issues: Chopin's hesitations , Authentic corrections in GC

b. 33

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

Grace note in Amar

No ornament in GC (→GE) & FE (→EE)
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On the available photography of Amar, it is hard to state what type of grace note is written here. We assume that it is a common slashed quaver, which in the main sources is present, e.g., in bars 44 and 45. Preparing the Sonata for publication, Chopin resigned from this ornament at the beginning of the D major section, however, at the time of proofreading, he most probably decided to use it at the return of the first eight-bar section, in bar 49.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations

b. 45

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

e in GC (→GE), FE1 (→FE2→EE) & FES

g in FE3 (→FE4,FE5)
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Chopin most probably hesitated between e and g on the 2nd quaver in the L.H. Initially – in [A] and the sources based on it – he wrote an e, which he then changed to g in the proofreading of FE3. However, he deleted the latter in FES, restoring e. According to us, both versions are generally equal, whereas in the main text we give the version with which Chopin started and to which he probably eventually returned.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Chopin's hesitations , Annotations in FES , Authentic corrections of FE