mUltimate Chopin

Op. 31, Scherzo in B♭ minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FC

b. 42-43

composition: Op. 31, Scherzo in B♭ minor

No markings in A (→FE→EE)

Pedalling in FC (→GE)
..

In the main text we give the pedalling entered by Chopin into FC (→GE). The same applies to analog. b. 174-175.

category imprint: Differences between sources

issues: Authentic corrections of FC

b. 49-58

composition: Op. 31, Scherzo in B♭ minor

No signs in A (→FE→EE)

in FC (→GE1)

in GE2 (→GE3)
..

In b. 49-50 and 57-58 in the main text we give the  marks written by Chopin in FC (→GE1). Their placement, just below the tied f4, means that Chopin meant rather a 'very long' accent than diminuendo. In GE2 (→GE3) the marks were arbitrarily moved in order to emphasise their meaning as diminuendoes.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FC

b. 53-54

composition: Op. 31, Scherzo in B♭ minor

Slur in bar 53 in A

Slur to bar 54 in #CF (→GE) & FE (→EE)
..

The slur of A does not go beyond the bar line, which must be an inaccuracy – cf. similar motifs in b. 55-56, 61-62, 62-63 (L.H.) and 63-64. In the main text we give the slur extended by Chopin in FC (→GE).

category imprint: Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A , Authentic corrections of FC

b. 54-56

composition: Op. 31, Scherzo in B♭ minor

Staccato dot in A (→FE→EE)

No mark in FC (→GE)
..

The staccato dot, written in b. 54 in A (→FE→EE), was crossed out in FC, almost certainly by Chopin. It is demonstrated by another small correction visible in this place – dragging the slur from b. 53 to the quaver in b. 54. Taking into account the above, we do not include this dot in the main text. See also analog. b. 186-196.

category imprint: Differences between sources

issues: Authentic corrections of FC

b. 60

composition: Op. 31, Scherzo in B♭ minor

in A (→FE→EE)

in FC (→GE)
..

According to us, the  mark in A (→FE→EE) is placed inaccurately: this four-bar section appears four times in total, and in the three remaining appearances the pedal release is marked at the beginning of the bar (b. 52, 184 and 192). Therefore, in the main text we give the mark written in FC (→GE), which was most probably also added by Chopin. 

category imprint: Differences between sources

issues: Authentic corrections of FC