Issues : Uncertain slur continuation
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b. 494-507
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composition: Op. 31, Scherzo in B♭ minor
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The analysis of the slurs of A used in the ostinato figures of the R.H. bottom/middle voice leads to the conclusion that slurs other than 5-note long – the shorter slur in b. 498 and the one in b. 502 suggesting continuation at the end of the line – are most probably a result of inaccurate notation. Therefore, it is the 5-note slurs that we give in the main text as the only version. In FE (→EE) the slur in b. 502 was led to b. 503, while in EE it was also the slur in b. 504-505 that was extended in a similar manner. Taking into account a broader context – longer slurs in b. 508-515 as well as in similar b. 310-333 and 412-435 – we suggest six-note slurs as an alternative solution in all discussed bars. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccurate slurs in A , EE inaccuracies , Uncertain slur continuation |
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b. 552-559
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composition: Op. 31, Scherzo in B♭ minor
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In A the slurs over the characteristic quaver motifs generally encompass only the quaver groups in these bars (the only exception are the slurs in b. 554-555, reaching the crotchet at the beginning of the next bar). The remaining sources do not show traces of Chopin's influence on the range of those slurs. Therefore, taking into account the fact that the discussed figures are identical, in every respect, in the main text we unify the slurs, giving always the ones Chopin wrote in A more often. Such a solution was also adopted in GE2 (→GE3). Alternatively, we also suggest 6-note slurs, which are more frequent in similar motifs in the entire Scherzo. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions , EE inaccuracies , Inaccuracies in FC , Uncertain slur continuation |
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b. 560-579
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composition: Op. 31, Scherzo in B♭ minor
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The slurs encompassing the ostinato quaver figures in A are of different length: some reach the following crotchet, some do not. Statistically, it is the former that clearly prevail: 8 longer, 6-note slurs to only 4 shorter and 3 questionable ones (we interpret the questionable ones literally as short). The remaining sources do not show traces of Chopin's influence on the range of those slurs; except for minor inaccuracies, FC and GE1 reproduce the text of their Stichvorlagen, while FE (→EE) contain longer slurs only (we discuss b. 574-575 separately due to FE having overlooked the slur). In this situation, we base the main text on the above analysis of the notation of A; taking into account a high degree of structural and functional similarity of the discussed motifs, we suggest uniform, 6-note slurs in all figures. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions , EE inaccuracies , Uncertain slur continuation |
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b. 755-756
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composition: Op. 31, Scherzo in B♭ minor
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In A (→FC) b. 756 opens a new page, while the phrase marks, both in b. 755 and 756, suggest continuation. Therefore, it is no wonder that all editions combined them. On the other hand, the passage beginning in b. 756 is strictly opening (cf. its previous appearances in b. 49 and analog. and 716 and 720), so one can assume inaccuracy of notation, particularly in b. 756. Such phrase marks, written with a flourish, can be frequently encountered in Chopin's autographs, e.g. in b. 589 and 597, where their meaning is, however, unequivocal. Taking into account the above, we suggest two alternative solutions in which the phrase marks are not combined. category imprint: Editorial revisions |
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