mUltimate Chopin

Op. 35, Sonata in B♭ minor, Mvt I

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 128

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

g2-c3 in GC (→GE), FE3 (→FE4), FESch & EE2

g2-e3 in FE1 (→FE2→EE1)
..

The version with e3 present in FE1 (→FE2→EE1) (in both FE without the necessary  in this situation) is almost certainly erroneous. It is proved by: c3 written in GC (→GE) and the Chopinesque corrections in FESch and FE3 (→FE4). The correct version with c3 is written inaccurately in some of the sources – the necessary  is only in GE and EE2. Further omissions of accidentals – see the adjacent note.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Accidentals in different octaves , Inaccuracies in FE , Terzverschreibung error , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in GC , Annotations in FESch

b. 129-131

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

No sign in GC (→GE) & FE1 (→FE2→EE1)

 in FE3 (→FE4) & EE2
..

Same as in bars 121-123, the  sign was added by Chopin in the proofreading of FE3 (→FE4). It was then repeated in EE2.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 141

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

g2-b2 in GC (→GE) & FE1 (→FE2→EE)

g2-b2 in FE3 (→FE4)
..

The version of the 4th quaver with b2 cannot be authentic, as the  visible before this note in GC and FE1 (→FE2→EE1) was probably supposed to concern the bottom note of the third, g2 (the revisers of GE and EE2 added another  here, considering its absence a common oversight). It is proved by a comparison with analogous bars – in all the remaining places (bars 137, 143, 145 and 147-149) the top voice of the dyads is led diatonically, without raising the note on the 4th quaver in the bar. It is confirmed by the Chopinesque proofreading of FE3 (→FE4), in which the sign was moved before the bottom note, which proves that the composer heard here g2-b2. On the other hand, if g2-b2 had really been intended by Chopin from the very beginning, the  in [A] would have probably been misplaced, since two persons – the copyist and the engraver of FE1 – misinterpreted it. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Authentic corrections of FE

b. 141

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

..

GC and FE1 (→FE2→FE3) feature a g-f1 seventh as the 5th crotchet. The mistake was most probably in [A]; it was corrected in the proofreading of FE4. GE and EE also include the correct text.

category imprint: Differences between sources

issues: Errors in FE , Errors of A , Authentic corrections of FE

b. 153-156

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

Three-bar long  in GC (→GE)

One-bar long  in FE1 (→FE2→EE)

No sign in FE3 (→FE4)
..

In the main text we include the  sign written in GC (→GE). The shorter hairpin in FE1 (→FE2→EE) is probably inaccurate; its removal in FE3 (→FE4) also seems to be a mistake – crescendo is so natural here due to the quickly ascending progression and accumulation of harmonies due to pedalling. See also bars 158-160.

category imprint: Differences between sources

issues: Authentic corrections of FE