mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 18-20

composition: Op. 31, Scherzo in B♭ minor

Long accents in A (→FE)

Different accents in FC

Short accents in GE & EE
..

It was only the first of the three undoubtedly long accents of A that was reproduced as long in FC. In GE the marks were unified as short accents. Short accents, contrary to FE, are also given in EE.

category imprint: Differences between sources

issues: Long accents , EE inaccuracies , Inaccuracies in FC

b. 22

composition: Op. 31, Scherzo in B♭ minor

Wedge in A

Dot in FC (→GE)

No mark in FE (→EE)
..

In A the staccato marking with which Chopin provided the last octave looks like a small wedge. However, in the subsequent appearances of this motif, i.e. in b. 46 and 154, the composer used a dot; thus, we give it in the main text. After all, Chopin did not question the dot present in FC, although he had the opportunity to do so, since the extension of the slur proves that he paid attention to that motif while proofreading FC. The dot is also supported by the situation in the last analogous place: in bar 605 the mark overlooked in A was most probably added by Chopin in FC and it is a dot. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Wedges , Inaccuracies in FC

b. 30-31

composition: Op. 31, Scherzo in B♭ minor

in A (literal reading→FE)

 in A (interpretation) & GE2 (→GE3)

Long accent in FC

Short accent in GE1

in EE
..

The interpretation of the notation of A is problematic here: b. 30 ends the line, and the  mark goes far beyond the bar line (in b. 31 there is already no mark). We assume that it is a one-and-a-half-bar mark, like in GE2 (→GE3). In the main text, in accordance with the analysis of the Chopinesque  or  marks in this and analog. pairs of bars (see b. 6-7), we give here an averaged, more or less one-bar hairpin of EE. According to us, all marks, regardless of their actual length, should be interpreted here as long accents.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

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

b. 38-39

composition: Op. 31, Scherzo in B♭ minor

in A (→FC→GE, →FE)

in EE
..

In accordance with the analysis of the Chopinesque  or  marks in this and analog. pairs of bars (see b. 6-7), in the main text we give an averaged, more or less one-bar long hairpin of EE. According to us, all marks, regardless of their actual length, are to be considered long accents here.

category imprint: Differences between sources; Editorial revisions

issues: EE inaccuracies

b. 42-43

composition: Op. 31, Scherzo in B♭ minor

Long accents in A (→FE)

Short accents in FC (→GE) & EE
..

Both Fontana and the engraver of EE considered the longer marks of A (→FE) to be an inaccuracy and replaced them with common, short accents.

category imprint: Differences between sources

issues: Long accents , EE inaccuracies , Inaccuracies in FC