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b. 93-96
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The original accentuation, which, together with the slurs restores clear, triple grouping of chords after bars 91-92, prevailing in bars 81-90, was changed by Chopin in the proofreading of FE3 (→FE4). The new concept is an evident improvement – it shapes a four-bar-long crescendo wave with distinctly marked two crests and at the same time it delays the return of denser accentuated motifs until the entrance of the final phrase of the exposition in bar 97. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Long accents , Authentic corrections of FE , Inaccuracies in GC |
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b. 93-96
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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It is hard to assume whether Chopin forgot to finish marking the pedalling here or whether he only generally indicated the need to use pedal in this fragment. Due to the fact that the indications are more accurate for the second time (bars 221-224), in the main text we signalise them already here. category imprint: Interpretations within context; Editorial revisions issues: No pedal release mark |
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b. 93
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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It is not certain whether the dot, visible in GC near the bottom note of the 1st octave in the bar, is a staccato dot or an insignificant ink fleck. The sign is absent in all other sources, which, however, cannot be considered to be a conclusive argument. In the main text we include the dot, as the staccato articulation results here in a natural way from the piano texture, as well as due to the similarly marked chord at the beginning of bar 91. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE |
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b. 93
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of the wedge in GE is certainly a mistake. category imprint: Differences between sources issues: Errors in GE |
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b. 94-97
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composition: Op. 35, Sonata in B♭ minor, Mvt I category imprint: Differences between sources issues: Errors of GC |
