mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt I

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b. 158-159

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

1 accent in GC

2 accents in FE (→EE)

No marks in GE
..

Missing accents in GC & GE were most probably overlooked.

category imprint: Differences between sources

issues: Errors in GE , Errors of GC

b. 159

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

..

In GC and FE (→EE1) there is no flat lowering c2 to c2 in the L.H. The obvious inaccuracy was corrected in GE & EE2.

category imprint: Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Errors of GC , Errors repeated in FE , Errors repeated in EE

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

b. 161

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

..

The cautionary signs next to c3, e3 and c were added by us. In turn, the flats before g and g1 are present in all sources.

category imprint: Editorial revisions