|
b. 62-64
|
composition: Op. 31, Scherzo in B♭ minor
..
Out of the three accents visible in A at the beginning of subsequent quaver motifs, it is only the third one that was repeated in FC. It can be explained by them having been added in A later or, which seems more likely, by the copyist's distraction. It is also unclear which accents Chopin meant: taking into account the whole-bar category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors of FC |
||||||||||||
|
b. 63
|
composition: Op. 31, Scherzo in B♭ minor
..
In A one can see that the last quaver was initially written as e2. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Enharmonic corrections |
||||||||||||
|
b. 63
|
composition: Op. 31, Scherzo in B♭ minor
..
The poco ritenuto indication was entered into FC by Chopin. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC |
||||||||||||
|
b. 64
|
composition: Op. 31, Scherzo in B♭ minor
..
Initially, Chopin wrote the L.H. part in A in treble clef an octave higher. Having noticed his mistake, he added a bass clef before that figure; eventually, he wrote the correct text on the stave below. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
||||||||||||
|
b. 65-76
|
composition: Op. 31, Scherzo in B♭ minor
category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of FC |
in 
