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Issues : EE revisions
b. 250-256
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composition: Op. 31, Scherzo in B♭ minor
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Despite significant differences in the length of the marks in b. 250, 252, 254 & 256 visible in A, we consider all of them to be accents. The mark in b. 250 in itself could be regarded as a long accent; however, in the context of two subsequent ones, we interpret it as a short accent. Due to the reasons discussed in analogous b. 118-124, in the main text we give a notation unified with four short accents; such a solution was also applied in GE2 (→GE3). The two missing marks in FC (→GE1) are most probably an oversight, while the changes introduced in EE, with differentiated accents for both hands and vertical accents, the latter being typical of that edition – a revision. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , EE revisions , Inaccuracies in GE , GE revisions |
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b. 262
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composition: Op. 31, Scherzo in B♭ minor
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There is no octave sign over the R.H. minim in A (→FE→EE1). The patent mistake (particularly after comparing it with b. 130) was corrected in FC (→GE), probably by Fontana's hand, as well as in EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors of A , Fontana's revisions , Errors repeated in FE , Errors repeated in EE |
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b. 263-264
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composition: Op. 31, Scherzo in B♭ minor
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The category imprint: Differences between sources issues: EE revisions |
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b. 267-268
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composition: Op. 31, Scherzo in B♭ minor
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In FE b. 267 closes the line of the text. There are no ties of the R.H. minims, f category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FESf |
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b. 298
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composition: Op. 31, Scherzo in B♭ minor
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In some of the editions, the whole-bar rest was specified with the digit 1 – over each of the staves in GE1 and EE, between the staves in GE3. category imprint: Differences between sources issues: EE revisions , GE revisions |