Articulation, Accents, Hairpins
b. 46
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composition: Op. 31, Scherzo in B♭ minor
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The missing dot in FE (→EE) is most probably an oversight – in A a small dot is quite far from the octave it concerns. category imprint: Differences between sources issues: Errors in FE |
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b. 49-58
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composition: Op. 31, Scherzo in B♭ minor
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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 |
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b. 54-56
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composition: Op. 31, Scherzo in B♭ minor
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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 |
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b. 62-64
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composition: Op. 31, Scherzo in B♭ minor
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Out of the three accents visible in A at the beginning of subsequent quaver motifs, it is only the third one that was repeated in FC. It can be explained by them having been added in A later or, which seems more likely, by the copyist's distraction. It is also unclear which accents Chopin meant: taking into account the whole-bar hairpins in similar motifs in b. 53 and 55, we consider long accents to be more likely. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors of FC |
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b. 65-66
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composition: Op. 31, Scherzo in B♭ minor
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We suggest adding a sign in the main text, following the analogous bars 197-198. category imprint: Editorial revisions |