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b. 13-14
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In some of the sources – GC and GE – the pedalling of these bars is written clearly inaccurately, as holding the pedal beginning on the 2nd beat of bar 13 longer than one crotchet leads to an unjustified mix of harmonies, as far as the sound is concerned. The difference between the sources based directly on [A] – GC and FE – is most easily explained with an oversight of the copyist, although other explanations are also possible. On the other hand, the unnecessarily complex pedalling of FE (→EE) in a faster tempo, without an audible error, may also not entirely reflect Chopin's intention – cf. similar bars 32-34. Therefore, in the main text we suggest a variant solution, leaving a possible use of pedal on the 2nd beat of bar 13 at the discretion of the perfomer. category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Inaccuracies in GC |
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b. 17-21
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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No slur in FE1 is undoubtedly an oversight of the engraver, corrected – certainly on the basis of [A] – in FE2. However, it is not entirely clear what the range of the slur intended by Chopin was, as the sources based on [A] seem to convey different versions and both the copyist and the engraver of FE did not always faithfully reproduce Chopin's notation. In addition, the slur of GC, despite the fact that it clearly reaches the beginning of bar 21, cannot be considered to be unambiguous – the beginning of the slur also exceeds the bar line, which cannot mean its starting in bar 16. It is the recapitulation that comes to help (bars 205-209), in which the engraver of FE1, looking at the same place of [A], interpreted the slur differently than for the first time, yet in accordance with the more likely, literal interpretation of GC. Due to this fact, in the main text we give the slur reaching until E category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , FE revisions , Inaccuracies in GC |
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b. 21-25
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The articulation signs – dots and accents – in bar 21 could have been added in GC (→GE) by Chopin. They are probably to be considered to be valid also in the subsequent similar bars, namely 23 and 25-27. The idea was partially implemented in EE, in which the same indications were added in bars 21, 23 and 25, which can be ascribed to Chopin's intervention in the base text to this edition. See also bars 210-213. category imprint: Differences between sources issues: Authentic corrections in GC , Authentic corrections of EE |
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b. 22-24
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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With respect to the articulation signs in adjacent bars 21, 23 and 25 (compatible with bars 1, 3 and 5), the absence of wedges in bars 22 and 24 could erroneously suggest a different performance than in bars 2 and 4. category imprint: Editorial revisions |
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b. 22-24
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Although the arpeggios in the L.H. in bars 22 and 24 are written in the sources inaccurately, there is no doubt they are valid – the wavy lines in bars 2 and 4 are certainly to be considered to be an indication concerning all further repetitions of these chords. The signs added in EE in bar 22 could have come from Chopin, yet an editorial revision seems to be more likely here. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
sign in 
1-E
