Issues : Errors in FE
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b. 731
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composition: Op. 31, Scherzo in B♭ minor
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The missing staccato dot in FE (→EE) and GE must be a result of oversights. We can excuse the engraver of GE, since the dot in FC looks like the ending of the octave's stem and is hard to perceive. category imprint: Differences between sources issues: Errors in FE , Errors in GE |
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b. 766-768
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composition: Op. 31, Scherzo in B♭ minor
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According to us, the missing staccato dots over the chords in b. 766 and 768 are a result of inattention of the copyist and the engraver of FE. The dots do appear in A, yet their perception is hampered by other elements of notation bordering on them, i.e. a deletion (b. 766) and one of the dashes marking the range of the indication più mosso (b. 768). category imprint: Differences between sources issues: Errors in FE , Errors of FC |
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b. 780
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composition: Op. 31, Scherzo in B♭ minor
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In A it is unclear which kind of staccato marks (in both hands) Chopin meant. In the original, deleted version of that bar they were dots; however, in the final version the marks are clearly prolonged (vertically), particularly in the R.H. The absence of those marks in FE (→EE) is probably a result of misunderstanding A: the mark over the R.H. minim could have been considered a part of the fermata, which, in turn, could have influenced the omission of the L.H. mark. It is difficult to say what the motivation of GE2 (→GE3) to omit the dots visible in GE1 was. Perhaps they were considered contrary to the extending dots and fermatas. Chopin must have considered the extraction manner of sound to be independent from the length of its echo – regulated with pedal – and nothing indicates that he would have wanted to abandon emphasising the triumphal gesture ending the Scherzo with staccato marks. category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Errors in FE , Corrections in A , Errors resulting from corrections , GE revisions , Wedges , Inaccuracies in FC , Inaccuracies in A |
