Issues : EE revisions
b. 44
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The slur over the bass motif was most probably added in GC (→GE) by Chopin, together with the hairpins in bars 43-44 and 46. On the basis of GE it was added also in EE2. category imprint: Differences between sources issues: EE revisions , Authentic corrections in GC |
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b. 49
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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In the main text we give the pedalling of GC. GE1 reproduced it inaccurately, which was corrected in GE2, yet then repeated in EE2. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , GE revisions |
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b. 52-53
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composition: Op. 35, Sonata in B♭ minor, Mvt I category imprint: Differences between sources issues: EE revisions |
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b. 57
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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It cannot be excluded that the sign in GC was added by Chopin (together with the preceding ). In any case, we give this certainly authentic improvement of dynamics in the main text. category imprint: Differences between sources issues: EE revisions , Authentic corrections in GC |
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b. 78
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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Among the four versions of the middle notes of the chord at the beginning of the 2nd half of the bar present in the sources, the first (FE1) is certainly erroneous, whereas the last (EE2) – arbitrary. In turn, the remaining two are undoubtedly authentic and – according to us – equal. The a1-c2 crotchet is probably earlier, it was probably in [A] and this is on this basis that is was introduced to FE2 instead of the erroneous b1 minim. The original third was initially also in GC, where, however, Chopin changed it to a c2 minim. Hence, we adopt the latter to the main text. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Errors in FE , FE revisions , Authentic corrections in GC |