mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt II

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b. 32-34

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

No ties in the sources

Ties suggested by the editors
..

The ties sustaining c1 or c do not appear in the sources at all – neither here nor in the reprise (bars 220-222), nor in the ending (bars 265-266). It remains in a clear opposition to bars 12-14 and 200-202, differing only in the mode (G major and not F minor), in which the sustention of analogous d1 or d notes is apparent (in spite of single, accidental oversights). Therefore, on the basis of the sources one has to assume that in these pianistically almost identical figures (in each of the three-chord motifs the difference concerns only one note – b(1) or a(1)), Chopin imagined the performance of the F minor chords differently than the ones in G major. Due to this fact, in the main text we leave the source version. On the other hand, the pianistic issues argument for a unified performance of all these places, both in terms of arpeggios of the tenth chords and sustention of the common note, as it was clearly marked in the R.H. Therefore, in all analogous situations, we give an alternative suggestion with a sustention of c1 or c.

category imprint: Interpretations within context; Editorial revisions

b. 32-34

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

No ties in the sources

Ties suggested by the editors
..

Due to the reasons discussed for the ties of the L.H., we suggest the version which sustains the c3 and c2 notes.

category imprint: Editorial revisions

b. 79-80

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

Repeated octave in GC

Tied octave in FE (→EE) & GE
..

No tie of the octave in the L.H. is certainly an oversight of the copyist, completed in GE.

category imprint: Differences between sources

issues: GE revisions , Errors of GC

b. 118-120

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

c2 tied in GC & FE (→EE)

c2 repeated in GE
..

Chopin manner of writing ties clearly indicates that the ties combined in Chopin's mind with the note being added, which, due to this fact, was not struck. When interpreted in this way, the notation of GC means sustaining c2 through four bars, as each of the •/• signs replaces the c2 minim together with the preceding it tie. The version of GE is, therefore, a result of misunderstanding of GC.

category imprint: Differences between sources

issues: Errors in GE

b. 145-146

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

..

GC (→GE1) overlooked the dots extending the minims in bar 145. GE1 also omitted the dots in bar 146. The remaining editions include the correct text.

category imprint: Interpretations within context; Differences between sources

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