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b. 777-779
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composition: Op. 31, Scherzo in B♭ minor
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Just like in the previous whole-bar rests, all editions except for GE2 provided the rests in b. 777 and 779 with digits 1. category imprint: Differences between sources issues: GE revisions , FE revisions |
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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 |
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b. 780
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composition: Op. 31, Scherzo in B♭ minor
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In A one can see that Chopin deleted all notes after the bar had already been written and rewrote them next to the deletion. It is difficult to say what the reason for that correction was, since the deleted text seems to be identical to the rewritten one; the only doubt is the direction of the stem of the L.H. grace note chord (it could have been pointing downwards) and the top note of that chord (a category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
1?).