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Issues : Authentic corrections in GC
b. 108
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The slur over the L.H. part, if not overlooked by the engraver of FE (→EE1), could have been added in GC (→GE) by Chopin. The sign was then added in EE2. Similarly in bar 116. category imprint: Differences between sources issues: EE revisions , Authentic corrections in GC |
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b. 125-128
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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It is unclear how the difference in the way of indicating crescendo in bars 127-128 occurred. The category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions , Authentic corrections in GC |
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b. 141-142
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The version of FE (→EE) is an earlier version, drawn from [A], as it was originally present in GC too. Chopin changed it in GC (→GE), moving the bass motif an octave lower. We give the latter – being the latest – in the main text. It seems to be an improvement due to a more consistent use of the bottom most register of the piano. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |
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b. 152
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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In GC two semi-bar slurs of the L.H. were combined, probably by Chopin. We include the correction in the main text, particularly due to the fact that EE includes an incomplete slurring in this place, whereas FE does not contain it at all. category imprint: Differences between sources issues: Authentic corrections in GC |
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b. 153
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of an accent in FE (→EE1), if not an oversight by the engraver, means that Chopin added the mark to GC (→GE). category imprint: Differences between sources issues: EE revisions , Errors in FE , Authentic corrections in GC |