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Op. 35, Sonata in B♭ minor, Mvt I

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Verbal indications

b. 97-101

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

in bar 97 in GC & GE2

No marking in FE1 (→FE2→EE1) & GE1

in bar 101 in FE3 (→FE4) & EE2
..

 in bar 101, added by Chopin in the proofreading of FE3 (→FE4), is certainly the latest decision of Chopin, as far as the placement of this indication is concerned. It was repeated also in EE2. The sign in GC in bar 97 could have also been added by Chopin. Therefore, both versions seem to be equal. The absence of the sign in GE1 is most probably an oversight.

category imprint: Differences between sources

issues: EE revisions , Errors in GE , GE revisions , Authentic corrections of FE , Authentic corrections in GC

b. 108

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

No marking in GC (→GE) & FE (→EE1)

in EE2
..

 is an arbitrary addition of the reviser of EE2.

category imprint: Differences between sources

issues: EE revisions

b. 133-136

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

Dashes in bars 133-134 in GC

Dashes until end of bar 135 in FE

No dashes in GE1

Dashes in bars 133-135 in EE & GE2

4 bars of dashes suggested by the editors
..

According to us, the differences in the marked range of the cresc. - - - indication are of a random character. In particular, the absence of dashes in bar 136 could have resulted in FE from difficulties in a legible distribution of all elements of the notation of [A] (cf. the notation of GC) or in FE itself, whereas according to Chopin's intention, crescendo was supposed to be valid most probably until  in bar 137. Therefore, in the main text we suggest leading the dashes to the end of bar 136 (see also bars 127-128). The total absence of dashes in GE1 is certainly a mistake (cf. the note on the  hairpin in bars 135-136).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , GE revisions

b. 161

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

in GC (→GE) & EE2

No marking in FE (→EE1)
..

In the main text we include  written in GC (→GE) and then repeated in EE2. No sign in FE (→EE1) is probably an accident, as it seems to be highly unlikely that Chopin wanted to leave the idea of emphasising with a dynamic sign a place in which the melodic climax combines with a harmonic breakthrough (reaching the dominant in the general key). Cf. notes on  signs in bars 153-156 and 158-160.

category imprint: Differences between sources

b. 161

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

stretto from 3rd crotchet in GC (→GE)

stretto from beginning of bar in FE (→EE)
..

The minor difference in the placement of the stretto indication may be considered to be significant. According to us, its correct reproduction in GC is more likely, as the engraver of FE could have considered the shift of the sign to the beginning of the bar to be a routine action ordering the notation.

category imprint: Differences between sources