Articulation, Accents, Hairpins
b. 83-86
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give a pair of hairpins written by Chopin in FC. In GE the latter was arbitrarily extended so that it starts from the beginning of b. 85. category imprint: Differences between sources |
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b. 89-94
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give a hairpin added by Chopin in FC (→GE). In this phrase the manuscript bears traces of corrections performed by Chopin, who, initially, wrote three subsequent marks in b. 87-90, 91-92 & 93-94, which he then deleted. The second half of the first of those marks (written on the top stave in b. 89-90) was not deleted, yet there is no doubt that the six-bar long written below expresses the composer's later intention. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FC , Alterations in CF |
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b. 98
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the hairpin written by Chopin in FC. The mark was overlooked in GE1 and added in GE2 (→GE3), undoubtedly on the basis of FC. category imprint: Differences between sources issues: Errors in GE , GE revisions , Authentic corrections of FC |
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b. 99-100
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the hairpin written by Chopin in FC (→GE1). The two-bar mark in GE2 (→GE3) is a result of a standard revision adjusting hairpins (and also, e.g. slurs) to rhythmic structures, e.g. bars. category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC |
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b. 103-106
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composition: Op. 31, Scherzo in B♭ minor category imprint: Differences between sources issues: Authentic corrections of FC |