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b. 706

composition: Op. 31, Scherzo in B♭ minor

g2-c3-g3 in A (literal reading→FE→EE)

g2-c3-g3 in FC (→GE)
..

In the main text we give the version of the principal source, i.e. FC (→GE). Although the naturals visible in the copy were almost certainly written by Fontana, the fact that Chopin carefully revised the entire copy allows us to assume that the composer accepted that addition. The version is also supported by a more natural development of the melodic line: in final progressions Chopin uses a rhythmic cell consisting of 3 repeated notes, which in b. 705 awakens expectations of continuation with the use of a chord featuring g2-g3. EE2 (→EE3) arbitrarily added cautionary flats before the discussed notes.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors of A , Fontana's revisions

b. 707

composition: Op. 31, Scherzo in B♭ minor

..

In FE (→EE) the topmost note of the 1st chord is an erroneous a3 instead of b3.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Errors repeated in EE

b. 708

composition: Op. 31, Scherzo in B♭ minor

No indication in A

in FC (→GE)

Dashes in FE (→EE)
..

In the main text we give the  indication entered by Chopin into FC (→GE). The dashes marking the range of cresc. are most probably a mistake of the engraver of FE (→EE), who led them to the end of the page instead of to the end of the phrase.

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE , Authentic corrections of FC

b. 709-715

composition: Op. 31, Scherzo in B♭ minor

No marks in sources

Short accents suggested by the editors

Long accents, our alternative suggestion
..

In the main text we suggest adding accents (in b. 709, 711, 713 and 715). Chopin consistently provided analogous b. 118-124 and 250-256 with them. Due to the lack of certainty on the type of the accents intended by Chopin, we give two versions, with short or long accents.

category imprint: Editorial revisions

b. 715-716

composition: Op. 31, Scherzo in B♭ minor

Slurs in A, literal reading

Slurs in A (interpretation→FC)

Continuous slur in FE (→EE) & GE

Slurs suggested by the editors
..

The continuous slur in FE (→EE) stems from the corrections in A, as a result of which the slur from b. 715, leading to the final, crossed-out fragment of the line, seems to suggest continuation. The situation misled also the copyist, who led that slur in FC to the next bar (which does not take place in A). Consequently, the slurs converged on the grace note, which the engraver of GE1 interpreted as one slur. This unanimity of the editors is startling if we take into account the fact that in the manuscripts the slur that starts in b. 715 is led under the notes, whereas the next one – over the notes, and nothing suggests that they should be merged. In the main text in b. 715 we give a literal interpretation of the slur of A, which does not reach the next bar, whereas in b. 716 – the slur of FC, compliant with the more accurate, according to us, slur of the manuscripts in b. 720. The issue of range of the slur over b. 716 – see b. 718-719. 

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Corrections in A , Errors resulting from corrections , Deletions in A