b. 88-92
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The proposal of the main text refers to the slurring of GC (→GE), appearing most often in analogous phrases. The version of EE may be considered to be an equal variant. category imprint: Differences between sources; Editorial revisions issues: Authentic corrections of EE |
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b. 95
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In GC (→GE) and FE1 (→FE2→EE) there is no accidental before the top most note of the last chord. This patent inaccuracy of Chopin notation was corrected in FE3 (→FE4), at the same time, however, the raising a1 to a1 was overlooked. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Inaccuracies in GE , Inaccuracies in FE , Errors resulting from corrections , Omission of current key accidentals , EE inaccuracies , FE revisions , Last key signature sign , Inaccuracies in GC |
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b. 96-100
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The division of the slur of EE into two parts is most probably related to the graphical layout used in this edition, in which, from the 2nd beat of bar 98, the part of the R.H. is written entirely on the top stave. The slur, in turn, concerns above all the melodic progression, in bars 99-100 performed already by the R.H. category imprint: Interpretations within context; Differences between sources issues: Authentic corrections of EE |
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b. 104-108
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In this phrase, the slur in GC (→GE) begins on the 2nd beat of bar 104, which, in spite of concordance with EE, we consider to be an inaccuracy, as in other similar situations, the slurs in GC generally start from the beginning of the bar. category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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b. 108
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The compatible versions of GC and FE1 (→FE2) prove that such a notation was also in [A]. Chopin's highly likely mistake, probably related to the introduction of an enhanced version of the transition to the next phrase (it may be supposed that bar 108 was originally a repetition of bar 107, same as in two previous similar phrases), is proved by awkward in this context parallel A-a and G-g octaves, and, above all, Chopin proofreading of FE3 (→FE4) and base text to EE. The version of GE, in spite of being compatible with the authentic corrections, is most probably a luckily guessed revision, based on bar 128. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: GE revisions , Errors of A , Authentic corrections of FE , Authentic corrections of GE , Authentic corrections of EE |