Issues : Errors of FC
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b. 114
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composition: Op. 31, Scherzo in B♭ minor
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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 category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Errors of FC |
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b. 114-115
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composition: Op. 31, Scherzo in B♭ minor
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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 |
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b. 119-120
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composition: Op. 31, Scherzo in B♭ minor
category imprint: Differences between sources issues: GE revisions , Errors of FC |
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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. 154
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composition: Op. 31, Scherzo in B♭ minor
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The second octave in this bar is provided in A with a staccato dot (due to smeared ink the mark became distorted, yet, according to us, there is no doubt that the person who wrote it meant a dot). That dot, however, was not reproduced in any of the sources based on A, neither in FC nor in FE (→EE). The reason could have been an oversight or an omission due to the inability to recognize the shape of the mark. GE added a dot most probably by analogy with b. 22 and 46. category imprint: Differences between sources issues: Errors in FE , GE revisions , Errors of FC |
) 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 
