mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt II

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 193

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

One-bar  in GC (→GE)

Sign reaching bar 194 in FE (→EE)
..

One longer  sign in FE (→EE), including also bar 194, is most probably an arbitrary decision of the engraver of FE.

category imprint: Differences between sources

issues: FE revisions , Hairpins denoting continuation

b. 194

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

One-bar  in GC (→GE)

Sign continued in FE (→EE)
..

Adding  in FE (→EE) to the sign in bar 193 is most probably an arbitrary decision of the engraver of FE.

category imprint: Differences between sources

issues: FE revisions , Hairpins denoting continuation

b. 196

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

No marks in GC (→GE)

Different accents in FE

Short accents in EE
..

In the main text we give accents of different length according to FE. The lack of such difference in EE is a typical inaccuracy of Chopin's first editions, and no accents in GC (→GE) is an oversight of the copyist (cf. bar 8).

category imprint: Differences between sources

issues: Long accents , EE inaccuracies

b. 209

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

Dots & accent in GC (→GE)

No marks in FE (→EE)
..

Due to the abbreviated notation of the recapitulation of Scherzo in the manuscripts, the state of the sources is same here as in bar 21.

category imprint: Differences between sources

b. 210-213

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

No marks in the sources

Staccato & accents suggested by the editors
..

In the main text we suggest adding the staccato signs and accents on the basis of respective bars of the initial section of Scherzo (bars 22-25). The abbreviated notation of the recapitulation in [A] (→GC) proves that Chopin wanted that the notation of both extreme sections was identical.

category imprint: Editorial revisions