Pitch
b. 241-245
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composition: Op. 31, Scherzo in B♭ minor
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Chopin added five-bar crescendi both in FC (→GE; in GE1 without dashes) and the proofreading of FE (→EE), which we take into account in the main text. It is noteworthy that the additions are fully compatible unlike for the first time (b. 109-116), when they differed in the range of the indication. See also b. 246-249. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of FC |
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b. 257
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we suggest the D note introduced by Chopin in the proofreading of FE in analogous b. 125, since Chopin's intentional differentiation between those bars seems to be less likely than an oversight of the correction in b. 257. category imprint: Editorial 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. 265
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composition: Op. 31, Scherzo in B♭ minor
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In A the beginning of the sotto voce indication was placed on the mark, which had been written earlier. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 273
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composition: Op. 31, Scherzo in B♭ minor
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The version of GE1 must be erroneous in this place; Chopin crossed out the E-e octave in A here and replaced it with the E-d seventh. GE2 (→GE3) restored the version of FC. category imprint: Differences between sources issues: Errors in GE , GE revisions |