mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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b. 65-66

composition: Op. 31, Scherzo in B♭ minor

No sign in sources

[] suggested by the editors
..

We suggest adding a  sign in the main text, following the analogous bars 197-198.

category imprint: Editorial revisions

b. 66

composition: Op. 31, Scherzo in B♭ minor

c1 in A

c1 & c1, possible interpretation of A

c1 in  FC (→GE) & FE (→EE)
..

The main text is a version introduced by Chopin in FC (→GE) and in the proofreading of FE (→EE). In the L.H. part in A one can see traces of numerous corrections in this bar; however, both a possible original version (like in the previous bar) and the final one were then changed by Chopin in FC and FE, respectively. According to us, the notation of A may also denote a version that we give as a possible interpretation should we assume that the restoration of c1 was overlooked.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Errors resulting from corrections , Authentic corrections of FE , Authentic corrections of FC

b. 68-76

composition: Op. 31, Scherzo in B♭ minor

Long accent in bar 76 in A (→FE)

Long accents in FC

Long accents in GE1

Short accent in bar 76 in EE

Short accents in GE2 (→GE3)
..

The notation of the R.H. accents in b. 68 and 76 was specified by Chopin in FC:

  • in A there is no accent in b. 68, while the mark in b. 76 is placed under the stave and seems to concern the minim of the bottom voice (like in b. 77).
  • in FC Chopin added an accent under the minim of the top voice in both places (in b. 76 he also deleted the mark under c2, copied by Fontana). For the purpose of clarity, we place the accents over the relevant minims of the top voice.

All accents written by Chopin are long accents, which was reproduced only in FE and GE1. The further sources – EE and GE2 (→GE3) give short accents. It was also the position of the accents that was not always reproduced in accordance with the Stichvorlagen – in GE1 the accents were placed under the stave; it was only in GE2 (→GE3) that Chopin's intention was guessed.
See also analog. b. 200-208.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FC

b. 69

composition: Op. 31, Scherzo in B♭ minor

Long accent in A (→FE)

Short accent in FC (→GE) & EE
..

Lack of understanding of the Chopinesque long accents is common in the editions, particularly in EE and GE, but copyists would sometimes also identify them incorrectly. See also b. 77.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , EE inaccuracies

b. 71-72

composition: Op. 31, Scherzo in B♭ minor

No sign in A (→FE→EE)

in FC (→GE1)

in GE2 (→GE3)
..

The  hairpin was written into FC (→GE) by Chopin. An exact placement of the right-hand end of the mark is impossible due to the way Chopin wrote longer rhythmic values: in b. 72 the mark reaches the dotted minim in the bottom voice of the R.H., which is, however, written between the 2nd and 3rd quavers of the L.H. In the main text we place the end of the mark in a way that it does not go beyond the notes of the chord that opens the bar. In GE2 (→GE3) the mark was shortened even more by adjusting it to the size of the bar.

category imprint: Graphic ambiguousness; Differences between sources

issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC