mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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b. 113

composition: Op. 31, Scherzo in B♭ minor

Accent in A (→FE→EE)

No mark in FC (→GE)
..

It is uncertain whether the missing accent in FC (→GE) should be attributed to the copyist's distraction or whether it was added by Chopin in A (along with  in the next bar) after FC had been already prepared. Since in this theme we consistently adhere to the dynamic markings of FC, we do not give this accent in the main text.

category imprint: Differences between sources

issues: Corrections in A , Errors of FC

b. 114-117

composition: Op. 31, Scherzo in B♭ minor

in bar 114 in A (→FE→EE)

 & - - -  in FC & GE2 (→GE3)

 &  in GE1
..

 was added by Chopin in A most probably after the completion of FC, since there are no traces of its deletion in the copy. However, it does not have to mean that Chopin added it after having proofread and completed FC. Anyway, the placement of this indication already in b. 114 was confirmed by the preceding cresc. added in FE and, above all, by  added in FE in analog. b. 246. The missing ending of the dashes following the cresc. from bar 109 must be a mistake of GE1. In the main text we give the markings of FC, like in this entire theme; however, the version of A and FE (→EE) is to be considered equivalent. After all, the difference between the actual implementations of both concepts is minimal.  

category imprint: Differences between sources

issues: Corrections in A , Authentic corrections of FC

b. 114-117

composition: Op. 31, Scherzo in B♭ minor

2 slurs in A

2 slurs in FE (→EE)

Slur in bar 114-115 in FC & GE2 (→GE3)

2 slurs in bars 114-115 in GE1

Slur suggested by the editors
..

The interpretation of the slurs of A is not easy. We consider the coinciding slurs to be the literal interpretation of the notation in b. 115-116, as it was reproduced in FE (→EE). However, according to us, it is more likely that Chopin wanted the second slur to be combined with the preceding one, which is indicated by a comparison with the unquestionable slur in analog. b. 246-249. Therefore, in the main text we suggest a slur led to the end of the phrase, modelled after those bars. The absence of the second slur in FC (→GE) may mean that it was added in A after the copy had been already completed. The additional slur in GE1 is probably a mistake. It is unclear how the extension, with respect to A, of the second slur in FE (→EE) occurred. It may be an inaccuracy, yet it cannot be ruled out that the slur was extended on purpose, perhaps even by Chopin.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations

issues: Inaccurate slurs in A , GE revisions , Errors of FC

b. 114

composition: Op. 31, Scherzo in B♭ minor

Slur in A (→FE→EE)

No slur in FC (→GE)
..

The missing slur in FC (→GE) could have been a result of the copyist's oversight; however, according to us, it is much more likely that the slur was added in A (along with ) after the copy had been already prepared. Anyway, it is difficult to state what Chopin's motivation was at the time of writing a slur in this very place: there is nothing remarkable about this figure; it is just another one among 116 bars provided with such a shape of accompaniment written out in A. Since we adopt FC as the basis for the main text, we do not include this slur, particularly since it does not appear in the repetition of this phrase (b. 246).  

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Errors of FC

b. 114-115

composition: Op. 31, Scherzo in B♭ minor

Tied chord in A (→FE→EE) & GE2 (→GE3)

Repeated chord in FC (→GE1)
..

The missing ties of the R.H. chord are almost certainly an oversight of the copyist.

category imprint: Differences between sources

issues: GE revisions , Errors of FC