mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt II

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 57

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

Chord with c2 in GC & FE1 (→FE2→EE1)

Chord with c2 in GE, FE3 (→FE4) & EE2
..

The chord with c2, although completely possible from the harmonic point of view, is, however, most probably a result of Chopin's mistake, as the d-f-a-c (a-c-e-g) diminished four-note-chord introduces the B minor key, which Chopin indicated with an enharmonic change in the previous bar. In this context, an omission of a  is highly likely – cf. the note in bar 56. The natural added – probably by Chopin – in FE3 (→FE4) is, therefore, probably a correction of a mistake.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Last key signature sign , Errors of GC

b. 78-80

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

No slur in GC (→GE) & FE1 (→FE2)

Slur in FE3 (→FE4) & EE
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The slur over the final motif is undoubtedly a Chopin addition in the proofreading of FE3 (→FE4) and in the base text to EE.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of EE

b. 108

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

g-d1 in GC & FE1 (→FE2)

b-d1 in GE, FE3 (→FE4) & EE
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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

b. 110-114

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

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In GC and FE1 (→FE2→EE1), there are no accidentals before the 3rd crotchet in bars 110 and 114. It is certainly an oversight of Chopin in [A], corrected in FE3 (→FE4). The naturals were added also in GE (in GE1 only in the top voice) and EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Last key signature sign , Inaccuracies in GC

b. 118-120

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

g in chords in GC (→GE), FE3 (→FE4), FESch & EE2

a in FE1 (→FE2→EE1)
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The version of FE1 (→FE2→EE1) is probably the original version, as it was initially written also in GC, in which it was corrected, probably by Chopin. Interestingly, in GC also the middle crotchets in the R.H. (from f1 to e1) were corrected, which in FE, however, are printed right away in the final version. Therefore, it cannot be excluded that seeing identical chords in the L.H., the copyist considered the crotchets in the R.H. also to be identical. It is even more likely considering the fact that in the manuscrpts only the first of the three bars was written out with notes. The version with g was written also in FESch.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Authentic corrections of FE , Alterations in GC , Authentic corrections in GC , Annotations in FESch