mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt II

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b. 1

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

 in GC (→GE)

No marking in FE (→EE)
..

It is hard to state which of the performance indications at the beginning of the Scherzo –  in GC (→GE) or the accent in FE (→EE) – is later. Since both signs do not appear simultaneously in any of the sources, we do not try to combine them, while in the main text we adopt the version of the base source, i.e. FE (without , only the accent).

Before the 1st crotchet of the piece, in GC one can see a deleted indication, probably risoluto.   

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Alterations in GC , Authentic corrections in GC

b. 1

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

No mark in GC (→GE)

Accent in FE (→EE)
..

The accent could have been added by Chopin in [A] (→FE→EE) after GC had been already prepared and as such could represent the latest concept of determining the performance manner of the beginning of the Scherzo.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 1-30

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

..

In GC bars 1-69 are provided with numbers (numbers of bars). The numeration is a part of the abbreviated notation of bars 189-257 as a repetition of a respective fragment of the initial section. This manner of notation, characteristic for Chopin, was certainly used also in [A].

category imprint: Source & stylistic information

issues: Abbreviated notation of A , Authentic corrections in GC

b. 1

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

..

In GE, there is a  sign between the first octaves in the L.H. It is a result of misinterpretation of the 1 numeral, with which the bar was provided in GC – see the note on abbreviated notation. The sign was repeated in EE2, by moving it in front of the 1st octave of the bar.

category imprint: Differences between sources

issues: Errors in GE

b. 2-4

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

Wedges in GC & FE

Dots in GE

No signs in EE
..

Staccato dots at the beginning of bars 2 and 4 consist the most glaring example of German engraver's misrepresenting wedges in GC – the difference between wedges there and dots in neighbouring bars 1, 3 & 5-7 is very distinct. GE did not use any wedges in the whole Sonata. The lack of signs in EE is most probably an oversight.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in EE , Wedges