mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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b. 435

composition: Op. 31, Scherzo in B♭ minor

e2 in A (→FC→GE, →FE→EE1)

e2 in EE2 (→EE3)
..

The version of EE2 (→EE3) is an arbitrary revision, perhaps aimed at avoiding a flagrant (?) succession and harmony of a minor ninth, d1-e2.

category imprint: Differences between sources

issues: EE revisions

b. 438

composition: Op. 31, Scherzo in B♭ minor

Staccato dot in A (→FE→EE)
..

The missing staccato dot is most probably an oversight of FC (→GE).

category imprint: Differences between sources

b. 438-439

composition: Op. 31, Scherzo in B♭ minor

Slur to g in A (→FC,FE→EE)

Slur to bar 439 in GE1

No slur in GE2 (→GE3)
..

The slur in FC resembles the slur of A, yet it is slightly longer, which misled the engraver of GE1. The subsequent GE omitted that slur, which, from the point of view of the reviser of GE2, was a reasonable decision: among 16 bars featuring b-e1 on the 2nd crotchet and g on the third one, it is only here that FC and GE1 feature a slur, which could seem a mistake.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , GE revisions , Inaccuracies in FC

b. 443-444

composition: Op. 31, Scherzo in B♭ minor

..

Instead of a continuous slur for the bass motif, in EE there are two slurs converging on the dotted e minim. It is an inaccuracy, with no actual implications on the performance, which probably results from the fact that in FE b. 444 opens a new line of the text, and the slur in that bar, although it begins before the note, does not suggest continuation with its shape.

category imprint: Differences between sources

issues: EE inaccuracies

b. 444-445

composition: Op. 31, Scherzo in B♭ minor

2 times   in A (→FC→GE1) & GE3

  in FE (→EE)

         in GE2
..

One can ponder whether the pedal change under these bars corresponds to Chopin's intention: in three previous, analogous places (b. 334-335, 342-343 and 436-437) those bars are performed on one pedal. In A Chopin overlooked pedalling markings in subsequent bars (until the final passage in this section, b. 460-465), which suggests the composer's temporary distraction. Due to the above reason, in the main text we give a two-bar pedal, modelled after the analogous places. Cf. also the commentary to b. 65-116 and analog.
The pedal change was overlooked in GE2 and restored in GE3. The missing  asterisk in b. 445 in FE (→EE) is an evident inaccuracy in this context. 

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , GE revisions