b. 34
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
In the main text we give two accents written in GC, since the top one (short) could have been added there by Chopin, despite the presence of the bottom one (long). category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors in GE , GE revisions , Authentic corrections in GC |
||||||||
b. 35
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
In the L.H. part, GC and FE1 (→FE2) have no accidentals in the second half of the bar. This obvious inaccuracy was corrected in FE3 (→FE4) and GE, and partly also in EE1 (only sharps before G1-G) and EE2 (naturals before A1-A as well). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves |
||||||||
b. 36-37
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
The double bar line was added in GC most probably by Chopin. According to us, it did not result from the will of indicating a musically relevant division, it was only aimed at facilitating the orientation in the abbreviated notation of the return of the main section of the Scherzo – Chopin added a double bar line also after the relevant bar of the recapitulation (bar 224). Therefore, in the main text we preserve the original notation of [A] (→FE) without the double bar line. category imprint: Differences between sources issues: Authentic corrections in GC |
||||||||
b. 36-37
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
The longer slur of FE (→EE) is most probably a result of an erroneous interpretation of the slur reaching the end of bar 36 in [A]. Chopin would use this kind of tenuto slurs on numerous occasions. The supposition is confirmed in Chopin proofreading of FE3 in the corresponding place of the recapitulation – see bar 224. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE , Tenuto slurs |
||||||||
b. 37
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
The introduced in the proofreading of FE3 (→FE4) change of e to e is undoubtedly a Chopin improvement – e naturally combines with the fixed in the previous bars F minor key, not to mention the analogy from bar 41. The correction was introduced also in EE2. Similarly in bar 225. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE |