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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 |
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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 |
