Articulation, Accents, Hairpins
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b. 117
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The long accent at the beginning of the bar was almost certainly written by Chopin in the base text to EE. According to us, the sign refers rather to the four-bar-long c category imprint: Interpretations within context; Differences between sources issues: Long accents , Authentic corrections of EE |
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b. 118-120
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 139-141
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Three staccato dots in bars 139 and 141 are present only in FE (→EE). Their absence in GC (→GE) may be explained with an inaccuracy of the copyist or their addition in [A] after the copy had been already prepared. In EE the three dots were completed with another two in bar 141, which, according to us, is an arbitrary decision of the engraver, related to the shift of the 1st chord in the R.H. to the top stave. category imprint: Differences between sources |
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b. 154-156
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The missing staccato dots in FE (→EE) seem to be an oversight of the engraver. The second dot in GC (in bar 156) blends into the category imprint: Differences between sources issues: Errors in FE , Inaccuracies in GE |
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b. 189
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The absence of articulation and dynamic indications in GE is a result of misunderstanding of the abbreviated notation of GC. category imprint: Differences between sources issues: Errors in GE |
2 note, hence in the main text we place it next to this note (it can be possible that Chopin wrote it under the minim, which fell between the voices of the R.H. and was misunderstood by the engraver).
hairpin is only in 
mistake, which explains its absence in 
in 