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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. 773-775
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composition: Op. 31, Scherzo in B♭ minor
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In GE2 (→GE3) the accents were divided between the hands: separate for the R.H. and separate for the L.H. We keep the authentic notation, which we believe to be absolutely clear. category imprint: Differences between sources issues: GE revisions |
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b. 776
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composition: Op. 31, Scherzo in B♭ minor
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The second note from the top of the R.H. chord is written in A slightly too low, so it could be interpreted as c2. That inaccuracy probably misled the engraver of FE, since the dot extending that note is placed – contrary to the rule – at the pitch of c2, and the small blackenings present in that edition may be traces of correction of that note. category imprint: Graphic ambiguousness; Source & stylistic information issues: Inaccuracies in A |
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b. 776-778
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composition: Op. 31, Scherzo in B♭ minor
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The accents in b. 776 and 778 in A are clearly longer than the 3 previous ones, which was not reproduced in EE and GE. Moreover, EE in b. 778 and GE2 (→GE3) in both bars assigned separate accents to each of the hands. category imprint: Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , GE revisions , EE inaccuracies |
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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 |
