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b. 137-169
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the staccato markings in b. 137, 145, 161 and 169 on the basis of the homogenous notation of FC. The alternating wedges and dots in A indicate Chopin's inaccuracy: the unquestionable wedge in b. 161, along with the notation of A in b. 5-37, make us consider the wedges to be probably intended. The omission of the markings in FE (→EE) must be a mistake, whereas the double dots in GE – a revision (there is no top dot in b. 169 in GE2, which is a patent oversight). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Errors in GE , GE revisions , Wedges , Inaccuracies in FC |
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b. 138-147
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composition: Op. 31, Scherzo in B♭ minor
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In GE the extended hairpins in b. 138-139 and 146-147 are inaccuracies; they could have resulted from general assumptions concerning the range of such markings. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 141-173
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composition: Op. 31, Scherzo in B♭ minor
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In b. 141, 149, 165 and 173 separate staccato markings for the L.H. chords are featured only in b. 141 (dot) in EE3 and in b. 165 (wedge) in FE (→EE). Only the latter could have come from Chopin; however, such a separate addition seems to be highly unlikely. According to us, it rather points to a mistake of the engraver. In spite of lacking source basis, in order to avoid doubts, in the main text we suggest adding the markings featured in the R.H. to the notation of the L.H. category imprint: Differences between sources; Editorial revisions issues: EE revisions , FE revisions |
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b. 141-173
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composition: Op. 31, Scherzo in B♭ minor
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It is unclear whether the staccato markings with which Chopin provided the R.H. chords in b. 141, 149, 165 and 173 are to be interpreted as wedges or dots. The mark in b. 165 must be a wedge, whereas those in b. 141 and 173 – dots (in b. 149 the mark can be interpreted either as a wedge or a dot); however, it seems unlikely that Chopin would have wanted to differentiate between those marks within the theme. In the main text we suggest wedges due to the predominance of wedges in a similar situation in b. 9, 17, 33 and 41, where we also discuss the analogous places in the entire Scherzo. All discrepancies in the remaining sources are of an accidental nature; in GE they were combined with unifying procedures. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Errors in GE , GE revisions , Wedges , Errors of FC |
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b. 142
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composition: Op. 31, Scherzo in B♭ minor
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FE has erroneously c as the last L.H. note. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE |
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