mUltimate Chopin

Op. 31, Scherzo in B♭ minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 5-37

composition: Op. 31, Scherzo in B♭ minor

4 wedges in A, probable interpretation

4 dots in A, possible interpretation

3 wedges & dot in FC

2 times 2 dots in FE (→EE)

4 times 2 dots in GE
..

In this context, the markings with which Chopin provided the crotchets in bars 5, 13, 29 and 37 in A may only denote staccato only, although it is not obvious whether he meant wedges or dots, since they clearly differ from dots (e.g. numerous dots extending minims or crotchets), yet their shape also does not bring to mind wedges or even vertical dashes, which could be easily identified with them. Due to that reason, in the main text we also suggest dots, next to wedges, as an alternative solution. In the remaining sources the notation of A was inaccurately reproduced; GE is an exception; in that edition the notation was unified to a form that is absent in those bars both in A and FC.   

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , GE revisions , FE revisions , Wedges , Inaccuracies in FC

b. 6-7

composition: Op. 31, Scherzo in B♭ minor

Long accent in A (→FC)

in FE (→EE)

Short accent in GE1

in GE2 (→GE3)
..

The analysis of the  or  markings, written by Chopin in A in these and analogous bars, leads to the conclusion that, despite significant differences in length (from a long accent to a two-bar hairpin), all of them most probably denote long accents. Due to that reason, in the main text we decided to unify them; we adopted a compromise  marking, which is more or less one-bar long. In the remaining sources Chopin did not interfere with the shape of those markings.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions

b. 6-7

composition: Op. 31, Scherzo in B♭ minor

..

FE overlooked the ties of the R.H. chord. The mistake was corrected in EE. The ties are also added in FESf.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE

b. 8

composition: Op. 31, Scherzo in B♭ minor

..

In GE1 the middle note of the 2nd chord in the R.H. is a d3 instead of c3. A comparison with the other sources and analogous bars proves that it is a mistake, corrected in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions

b. 9-35

composition: Op. 31, Scherzo in B♭ minor

No L.H. slurs in A (→FC,FE) & GE2 (→GE3)

L.H. slurs in GE1 & EE
..

The L.H. slurs in b. 9-11, 25-27 and 33-35 are an arbitrary addition of the revision of GE1 and EE. In GE and EE, such additions were common also in other compositions, cf., e.g. the Concerto in F minor, Op. 21, 2nd mov., b. 66-69, 3rd mov., b. 145-160 or the Scherzo in C minor, Op. 39, b. 1-12. In EE an additional incentive to perform additions could have been the FE slurs in b. 1-3.   

category imprint: Differences between sources

issues: EE revisions , GE revisions