mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 68-76

composition: Op. 31, Scherzo in B♭ minor

Long accent in bar 76 in A (→FE)

Long accents in FC

Long accents in GE1

Short accent in bar 76 in EE

Short accents in GE2 (→GE3)
..

The notation of the R.H. accents in b. 68 and 76 was specified by Chopin in FC:

  • in A there is no accent in b. 68, while the mark in b. 76 is placed under the stave and seems to concern the minim of the bottom voice (like in b. 77).
  • in FC Chopin added an accent under the minim of the top voice in both places (in b. 76 he also deleted the mark under c2, copied by Fontana). For the purpose of clarity, we place the accents over the relevant minims of the top voice.

All accents written by Chopin are long accents, which was reproduced only in FE and GE1. The further sources – EE and GE2 (→GE3) give short accents. It was also the position of the accents that was not always reproduced in accordance with the Stichvorlagen – in GE1 the accents were placed under the stave; it was only in GE2 (→GE3) that Chopin's intention was guessed.
See also analog. b. 200-208.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FC

b. 69

composition: Op. 31, Scherzo in B♭ minor

Long accent in A (→FE)

Short accent in FC (→GE) & EE
..

Lack of understanding of the Chopinesque long accents is common in the editions, particularly in EE and GE, but copyists would sometimes also identify them incorrectly. See also b. 77.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , EE inaccuracies

b. 71-72

composition: Op. 31, Scherzo in B♭ minor

No sign in A (→FE→EE)

in FC (→GE1)

in GE2 (→GE3)
..

The  hairpin was written into FC (→GE) by Chopin. An exact placement of the right-hand end of the mark is impossible due to the way Chopin wrote longer rhythmic values: in b. 72 the mark reaches the dotted minim in the bottom voice of the R.H., which is, however, written between the 2nd and 3rd quavers of the L.H. In the main text we place the end of the mark in a way that it does not go beyond the notes of the chord that opens the bar. In GE2 (→GE3) the mark was shortened even more by adjusting it to the size of the bar.

category imprint: Graphic ambiguousness; Differences between sources

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

b. 77

composition: Op. 31, Scherzo in B♭ minor

Long accent in A

Short accent in FC (→GE) & FE (→EE)
..

According to us, in spite of the fact that the accent in this bar is slightly shorter in A than the marks in b. 69 and 76, this difference has no significance, and the accent should be regarded as long. However, both the copyist in FC and the engraver in FE considered it a common, short accent.

category imprint: Differences between sources

issues: Long accents

b. 81-82

composition: Op. 31, Scherzo in B♭ minor

No marking in A (→FE→EE)

 in FC (→GE1)

 in GE2 (→GE3)
..

In the main text we give the  mark written by Chopin in FC (→GE1). In subsequent GE the mark was arbitrarily moved and shortened.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FC