mUltimate Chopin

Op. 31, Scherzo in B♭ minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 293

composition: Op. 31, Scherzo in B♭ minor

Fingering in A

No fingering in FC (→GE) & FE (→EE)
..

The digit 1, which in this context means that the f note should be taken over by the L.H., was ignored both by the copyist and the engraver of FE. A similar situation can be found in analogous b. 395, which makes us assume that Chopin could have added those digits in A already after having drawn up FC. See also b. 374. This is the only example of a silent takeover of a tied note by the other hand by means of fingering in Chopin's output. In a few other situations, the takeover was indicated by a corresponding rhythmic notation (the Nocturne in E major, Op. 62 No. 2, b. 35 & 73) or by a combination of vertical slurs before the chord (the Sonata in B minor, I mov., b. 103).

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 293

composition: Op. 31, Scherzo in B♭ minor

..

In A there are visible corrections and crossings-out in the R.H. part. Chopin tried a two-part notation there, probably the same as or similar to the one in b. 374.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 294-295

composition: Op. 31, Scherzo in B♭ minor

No sign in A (→FE→EE) & GE1

 in FC, probable interpretation

in GE2 (→GE3)
..

In the main text we give the  hairpin entered by Chopin into FC (→GE). The exact range of the mark is questionable: it is written in b. 294, the last one in line, and clearly goes beyond the bar line; however, there is no continuation thereof in b. 295. We assume that it marks the same range as in analogous b. 375-376 & 396-397, in which the hairpins in FC were also added by Chopin. GE1 omitted the mark (the engraver could have been uncertain how to interpret the described notation), whereas GE2 (→GE3) provided the hairpin with a longer range, modelled after b. 273-274, which seems less justified, since:

  • the missing continuation of the mark in a new line suggests only a slight extension, and not a one-bar extension;
  • Chopin wrote a longer mark only one, whereas shorter – twice.

category imprint: Differences between sources; Corrections & alterations

issues: Scope of dynamic hairpins , Errors in GE , GE revisions , Authentic corrections of FC

b. 294-295

composition: Op. 31, Scherzo in B♭ minor

Slur from c1 to a in A (→FE→EE)

No slur in FC & GE2 (→GE3)

Slur from c1 to b in GE1
..

According to us, the presence of an additional slur over the middle R.H. voice is related to the crossings-out visible in A related to the changes of layout: the voice was originally written on the bottom stave. The crossings-out separated the c1 minim from b, which probably prompted Chopin to enter a slur that would emphasise the course of the melodic line. This assumption is confirmed by the notation of the remaining three analogous places, which are devoid of both crossings-out and such a slur. It would be somewhat a special case of a mistake (unchecked effect) caused by a correction. Taking into account the above, in the main text we do not give that slur. It is also absent in FC: Fontana could have assumed that the slur, going through a crossed-out area, was also crossed out. Another possibility is that Chopin could have added it in A after having drawn up FC (it could also have been a common oversight). Anyway, Chopin did not add a slur upon seeing those bars in FC without one; however, he added a  hairpin. As he added a hairpin also in the three remaining analogous places, according to us, we can assume that it was that way of drawing attention to the sequence of the middle voice that he considered most proper and hence forwent additional slurs. The slur in GE1 is a result of a mistake: the engraver misinterpreted the tie of e1. See also the note on the curved lines in b. 295-297.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Corrections in A , Errors resulting from corrections , Deletions in A

b. 294-295

composition: Op. 31, Scherzo in B♭ minor

g-e1 tied in A (→FC) & GE2 (→GE3)

g repeated in FE (→EE)

e1 repeated in GE1
..

The missing tie of g in FE (→EE) and the one of e1 in GE1 must be mistakes of the engravers: in both cases it was a motivic slur in the next lower voice (see the notes below) that was printed instead of a tie. In FE it is also the notation of the tie of e1 that is inaccurate: the correct tie is present only in b. 294, which ends the line. GE2 (→GE3) added the tie that had been overlooked in GE1.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Inaccuracies in FE , Errors in GE , GE revisions