mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt II

Text Compare Notes Sources Description

Issues : Authentic corrections in GC

b. 36-37

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

Double bar-line in GC (→GE)

Single bar-line in FE (→EE)
..

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. 42-43

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

..

The natural before the 5th quaver in the L.H. in bar 42 (c1) was added only in GE2. There is no natural before the 1st quaver in bar 43 (d1) in FE (→EE1); Chopin added it in GC (→GE), which was repeated in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors in EE , GE revisions , Authentic corrections in GC

b. 46-49

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

Long accents &  in GC (→GE)

Long accents in bars 46-47 in FE

5 short accents in EE1

6 short accents in EE2

Long accents in bars 47 & 49 suggested by the editors
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The differentiated source versions of the signs of a dynamic character – accents and  – is a result of overlapping of possible mistakes (e.g., no signs in FE in bars 48-49), inaccuracies (short accents in EE) and revision (repetition of the signs from the top stave on the bottom in EE1, addition of an accent in bar 48 in EE2), as well as Chopin corrections. The composer may have added signs in bars 48-49 in GC and he almost certainly completed the notation of EE, by adding in a copy of FE2, being the base text to this edition, an accent in bar 49 (together with cresc. - -). In the main text we suggest indications modelled after the similarly completed version of EE1 in bars 234-237, in which the indications added by Chopin do not interfere neither with the previous ones of FE, nor with the ones added by the reviser.

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

issues: Errors in FE , Authentic corrections in GC , Authentic corrections of EE

b. 66-68

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

Slurs in GC (→GE) & EE2

No slurs in FE (→EE1)
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The slurs in bars 66 and 68 were most probably added in GC (→GE) by Chopin, they were also repeated in EE2 after GE. Similarly in bars 254 and 256. 

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Authentic corrections 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