mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 651-652

composition: Op. 31, Scherzo in B♭ minor

No marks in A (→FE→EE)

Long accents in FC

Long accents in GE1

Short accents in GE2 (→GE3)
..

These bars are an exact repetition of b. 200-201, hence in the main text we give the long accents written there by Chopin in FC.

category imprint: Differences between sources

b. 659-660

composition: Op. 31, Scherzo in B♭ minor

No marks in A (→FC→GE1, →FE→EE)

Short accents in GE2 (→GE3)

Long accents suggested by the editors
..

Just like in b. 208-209, in the main text we add long accents after b. 200-201. The addition – with the use of short accents – was also introduced in GE2 (→GE3).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 664-665

composition: Op. 31, Scherzo in B♭ minor

in FC (→GE1)

Shorter  in GE2 (→GE3)
..

In the main text we give the  mark entered by Chopin into FC (→GE1) in b. 213-214. In subsequent GE – like in analogous b. 81-82 and 213-214 – the mark was arbitrarily placed between  and dolce.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 666-669

composition: Op. 31, Scherzo in B♭ minor

No signs in A (→FE→EE)

  in FC (→GE1)

  in GE2 (→GE3)
..

In the main text we reproduce the   hairpins after FC (→GE1), into which they were entered by Chopin (in b. 215-218, see the note to b. 658-682). The changes in the range of the marks introduced in GE2 (→GE3) do not stem from Chopin's notation.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 672-677

composition: Op. 31, Scherzo in B♭ minor

No sign in A (→FE→EE)

in FC (→GE)
..

In the main text we give an almost six-bar  mark, written by Chopin in FC in b. 221-226 (according to the composer's instructions in A (→FC), these bars are to be repeated here without changes).

category imprint: Differences between sources