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Op. 35, Sonata in B♭ minor, Mvt I

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b. 54

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

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In the main text, we add cautionary ♭ at a1.

category imprint: Editorial revisions

b. 55-56

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

 in GC (→GE)

No sign in FE (→EE1)

 in EE2
..

The  hairpin in GC (→GE) could have been added by Chopin. The sign was repeated – inaccurately – in EE2.

category imprint: Differences between sources

issues: Authentic corrections in GC

b. 55

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

..

In the 2nd half of the bar the bottom notes of the chords in the R.H. – these which require ledger lines in the notation in the treble clef – in all sources, except for EE, is placed on the bottom stave. The b note in the middle chord does not require an accidental, although a cautionary  is undoubtedly indicated here (it was added in GE2). In EE the notes were moved to the top stave (same as in our transcriptions), however, the  which was necessary in this situation was not added. As a result, EE has here an undoubtedly erroneous chord with a b instead of b.

The cautionary flats before e1 and d1 were added by us.

category imprint: Differences between sources; Editorial revisions

issues: Errors in EE , GE revisions

b. 56

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

..

FE1 (→FE2) has a b-e1 minim here. The mistake resulted from an erroneous assignment of these notes to the bottom stave, where the bass clef is in force – the mistake's mechanism is easy to understand, looking at the notation of GC (most probably very similar to the notation of [A]). The mistake was corrected in FE3 (→FE4) and EE, mostly likely as a result of Chopin's intervention. GC (→GE) includes the correct text. 

category imprint: Differences between sources

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

b. 56

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

..

In the sources, the chord at the beginning of the bar is written monophonically, in spite of varying rhythmic values. Chopin, striving for a maximal simplicity of notation, would often use such notation (cf. e.g. the Etudes Op. 10, in E minor, No. 6, bar 20 i 46, F major, No. 8, bar 47, 49 and 50, C minor, No. 12, bar 57). In the places where the original notation can be improved without an excessive complication of the notation, we introduce relevant corrections.

category imprint: Editorial revisions

issues: Different values of chord components