mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt III

Text Compare Notes Sources Description

Issues : GE revisions

b. 3

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

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GC (→GE1) includes an erroneous F instead of G in the last chord in the L.H. The unquestionable in this context mistake was corrected in GE2mar (→GE2). Similarly in bar 57.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions , Errors of GC

b. 7-8

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

Two equal  signs in GC

One  in FE

One longer  in GE1

Differing  in GE2mar (→GE2)

One shorter  in EE1

Differing  in EE2
..

The notation of GC, representing the abbreviated notation of [A], indicates, according to us, two  signs. A similar conclusion was reached by the reviser of GE2mar (→GE2), whereas FE and GE1 give a hairpin only in bar 7. Interestingly, in an analogous situation in bars 11-12, all editions put the indications in both bars (yet they differ in the way of considering the pedalling). As far as the range of the signs is concerned, in the main text we adopt the averaged signs of GC and FE, as the present between them one semiquaver difference seems to be unimportant. The longer signs of GE and shorter of EE are probably an inaccuracy of interpretation of the base texts.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Scope of dynamic hairpins , GE revisions

b. 11-13

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

Pedalling in bar 11 in GC (literal reading)

Pedalling in bars 11-13 in GC (possible interpretation) & FE (→EE)

No markings in GE1 (→GE2mar)

Pedalling in bars 11-12 in GC (contextual interpretation) & GE2
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The used by Chopin in [A] (→GC) abbreviated notation of bars 12-13 (both in the part of the L.H., only the first one in the part of the R.H.) raises doubts concerning the pedalling issues. According to us, it seems to be most justified to adopt that the indications are to be in bars 11-12, but not in bar 13.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions

b. 14

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

Quavers in GC & FE (→EE)

Dotted rhythm in GE
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The dotted rhythm in GE is most probably either a mistake or revision, perhaps resulting from the conviction that the notation of GC is inaccurate – in the same figure there are no dots extending the first octave of the bar. Similarly in bar 68.

category imprint: Differences between sources

issues: GE revisions , Dotted or even rhythm

b. 14-16

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

Slurs in GC, interpretation (→GE)

Slurs in FE (→EE)

Our suggestion
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The slur of GC, started on the last beat of bar 14, is not continued in bar 15 (on a new line). The simplest interpretation of this notation – as a continuous slur – was performed in GE. The version, analogous to the slur embracing the next phrase, may be considered to be an equal variant to the main text, suggested by us, based on a comparison of this place with its repetitions in bars 22-24, 68-70 and 76-78. The analysis leads to the conclusion that the ending of the slur in bar 14 and related to it absence of the slur at the transition between bars 14 and 15 in FE (→EE) and the beginning of the slur in bar 15 from the 1st crotchet in GC are certainly or highly likely non-authentic elements.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Corrections in A , GE revisions , Inaccuracies in GC , Authentic corrections in GC