Verbal indications
b. 1
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of in FE (→EE) must be considered an inaccuracy of notation. Most likely, it is a non-corrected oversight of the engraver, although one cannot entirely exclude the possibility that the sign was added by Chopin in GC. In turn, no in GE1 is a patent oversight. See also bars 5 and 18-19. category imprint: Differences between sources issues: No initial dynamic marking , Errors in GE , GE revisions , Authentic corrections in GC |
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b. 5
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The absence of in GE must be considered an oversight of the engraver – cf. bar 1 (in this context it is the lack of addition of the sign in GE2 that is surprising). category imprint: Differences between sources issues: Errors in GE |
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b. 5
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The Chopin was often misinterpreted by the engravers as – cf., e.g., the Etude in C minor, Op. 10 No. 4, bar 1. Therefore, it is highly likely to assume that Gutmann reproduced Chopin's autograph correctly, whereas the engraver of FE – not. The inclusion of , valid already from the 2nd quaver, makes the difference between both indications purely theoretical.
category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , fz – f |
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b. 18-19
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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No dynamic signs in these bars must be considered to be an oversight of the engraver of GE1. category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 22-24
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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and cresc. were probably added by Chopin in [A] after GC had been prepared (unless the copyist forgot to write them in GC). Actually, both indications are present already in FE1, which certainly was not corrected by Chopin. Anyways, it is impossible that Chopin resigned from them, as they would have had to be deleted in GC. category imprint: Differences between sources; Corrections & alterations |