Op. 35, Sonata in B♭ minor, Mvt II

A later impression of EE1, in which the title of the work was extended, taking into account the already existing second Sonata (Op. 58). EE2 was based, among others, on the comparison with GE1, e.g.:

• correction of  to  in bar 1;
• change of  to  in bar 5;
• addition of a repetition sign in bar 5;
• addition of dynamic signs, mostly hairpins, in bar 7, 18, 21-22, 46, 56-57, 161, 166;
• addition of slurs in bars 39-40, 44, 108, 109-110, 116;
• addition of a grace note and arpeggio in bar 41, as well as arpeggios in bars 52-53;
• addition of a tie of d in bars 41-42, a¹ in bar 80, d² in bars 80-81, d¹ in bars 108-109;
• addition of pedalling signs in bars 45, 49, 169-172, 179-180, 189-191, 193-197;
• extension of the middle notes of the chord from crotchet to minim in bar 78 (compilation of the versions of FE and GE);
• addition of cautionary accidentals in bars 94 and 96, as well as 129, 136-137;
• change of B to B in bar 120;
• addition of stretto in bar 203.

Other changes were most probably drawn from FE4, e.g.:

• addition of dynamic signs, e.g., in bar 85 and 213, as well as 89-90, 101, 121-123 and 129-131;
• addition of fingering in bar 91;
• addition of a slur in bar 104 (2^a volta);
• addition of a  raising g² to g² in bar 168;
• addition of a cautionary  before e¹ in bar 208.

Other could have been noticed both in GE and in FE4, e.g.:

• addition of a slur in bars 1-2;
• change of e³ to c³ in bar 128;
• correction of a not so obvious mistake at the end of bar 155.

Among other changes introduced in EE2 one can mention routine additions of accidentals, e.g., in bars 107, 115, 137, 145-150. There are also totally arbitrary revisions, e.g., addition of  in bar 108 or naturals raising g²⁽¹⁾ to g²⁽¹⁾ in bars 151-152.

The copy presented in mUltimate Chopin comes from the latest (ca 1868) impression, endorsed already by Wessel's successor, the Ashdown & Parry company. The changes in relation to Wessel's original impression (whose copy the editors of mUltimate Chopin have not found) most probably concerned only the details of the cover – above all, the name of the company was updated. However, it cannot be excluded that same as in the case of the Etudes, Op. 25 there was another impression, not found until now, including only a part of the changes introduced in EE2. Such a possibility is indicated by the use of both the text of FE4 and GE1 at the time of developing EE2, whereas in the Etudes respective borrowings would appear at a different time – first the text was compared with FE, which resulted in EE2, and only then, in EE3, one reached for GE.