Issues : Errors in FE
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b. 568
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composition: Op. 31, Scherzo in B♭ minor
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The missing arpeggio must be a result of the engravers' inattention, particularly in FE, in which the last arpeggios in this section were printed in b. 560. The mark was added in GE2 (→GE3). See also the note below and in b. 570-572. category imprint: Differences between sources issues: Errors in FE , Errors in GE , GE revisions |
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b. 573-576
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give 6 staccato dots, written in A over the 3-crotchet motifs. The absence of the dots in FE (→EE) is probably an oversight; the engraver could have been misled by the placement of the dots in A, i.e. close to the dashes marking the range of calando. In turn, it is unclear how the missing dots in b. 574 and 576 in GE are to be explained, since one can imagine both an oversight and a revision. However, there is no doubt that the doubled marks under the notes are a revision. category imprint: Differences between sources issues: Errors in FE , Errors in GE , GE revisions |
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b. 574-575
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composition: Op. 31, Scherzo in B♭ minor
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The missing slur must be a mistake of the engraver of FE. The slur was added in EE, probably on the basis of analogy with b. 572-573 and 578-579. The shorter slur of GE2 (→GE3) is a result of a unifying revision, to which all similar motifs were subjected. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 579-580
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we preserve the version of A (→FC), since there are no indications that Chopin was removing dots in FE or adding them in GE. However, it is uncertain whether the missing dot in b. 580 was intentional, since the bar opens a new line of text, which would often contribute to various inaccuracies of notation. category imprint: Differences between sources; Editorial revisions issues: Errors in FE , GE revisions |
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b. 588-620
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composition: Op. 31, Scherzo in B♭ minor
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Differently than in the two previous appearances of this theme (b. 5-37 and 137-169), in b. 588, 596, 612 and 620 there are no wedges at all in A. In turn, Chopin twice introduced separate marks for the L.H., which we consider to be determinant for the entire fragment. The use of double marking could have been related to the presence of longer, tied notes in the preceding motifs. The same unification was introduced in GE, whereas the notation of FC and FE (→EE) has to be regarded as inaccurate or erroneous. category imprint: Differences between sources; Editorial revisions issues: Errors in FE , GE revisions , Wedges , Inaccuracies in FC |
