mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt II

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b. 112

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

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There are no accidentals before the chord on the L.H. on the 2nd beat of the bar in GC and FE (→EE1). The necessary  raising c1 to c1 was added in GE and EE2. In the main text we add a cautionary  before e1.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

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

b. 113

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

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In GC and FE (→EE) there is no  before the second grace note. It is almost certainly a mistake of Chopin in [A] – naturals rising c1(2) to c1(2) are missing also in bars 110, 112 and 114.The sign was added in GE.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Errors in EE , GE revisions , Omission of current key accidentals , Errors of GC

b. 115

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

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The cautionary  before d2 was added in GE and EE2.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 115

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

f-b-f1 in GC (→GE)

f-b-d1 in FE (→EE)
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The version of GC (→GE) is almost certainly erroneous, although it may not have been a typical Terzverschreibung error, resulting from the confusing the eye pattern consisting of parallel lines, but rather an erroneous assimilation of various chords – cf., e.g., the 1st mov., bar 221.

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error , Errors of 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