Issues : Wedges

b. 588-620

composition: Op. 31, Scherzo in B♭ minor

2 times two & 2 times one dot in A

1 dot in FE (→EE)

4 times 2 dots in GE

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Differently than in the two previous appearances of this theme (b. 5-37 and 137-169), in b. 588, 596, 612 and 620 there are no wedges at all in A. In turn, Chopin twice introduced separate marks for the L.H., which we consider to be determinant for the entire fragment. The use of double marking could have been related to the presence of longer, tied notes in the preceding motifs. The same unification was introduced in GE, whereas the notation of FC and FE (→EE) has to be regarded as inaccurate or erroneous.

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , GE revisions , Wedges , Inaccuracies in FC

b. 675

composition: Op. 11, Concerto in E minor, Mvt I

Wedges in FE (→EE)

L.H. dot in GE1 (→GE2)

Dots in both hands in GE3

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The absence and change of the staccato mark in GE1 (→GE2) is probably a result of carelessness of the engraver. A dot for the R.H. was added in GE3.

category imprint: Differences between sources

issues: Inaccuracies in GE , Errors in GE , GE revisions , Wedges

b. 780

composition: Op. 31, Scherzo in B♭ minor

Wedges in A

Staccato dots in FC (→GE1)

No marks in FE (→EE) & GE2 (→GE3)

..

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