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b. 42-43
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the pedalling entered by Chopin into FC (→GE). The same applies to analog. b. 174-175. category imprint: Differences between sources issues: Authentic corrections of FC |
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b. 42-43
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composition: Op. 31, Scherzo in B♭ minor
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Both Fontana and the engraver of EE considered the longer marks of A (→FE) to be an inaccuracy and replaced them with common, short accents. category imprint: Differences between sources issues: Long accents , EE inaccuracies , Inaccuracies in FC |
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b. 46
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composition: Op. 31, Scherzo in B♭ minor
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The missing dot in FE (→EE) is most probably an oversight – in A a small dot is quite far from the octave it concerns. category imprint: Differences between sources issues: Errors in FE |
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b. 47-48
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composition: Op. 31, Scherzo in B♭ minor
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Just like in b. 23-24, in FE (→EE) this pair of bars was replaced with a double bar with a two-bar rest marked with the digit 2. In GE1 the bars were not merged, but in each of them both rests were provided with digits 1. A similar notation was introduced in GE3, in which, however, the ones in b. 48 were replaced with twos. In the main text we keep the notation of A (→FC), which is also present in GE2. category imprint: Differences between sources issues: GE revisions , FE revisions |
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b. 48
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composition: Op. 31, Scherzo in B♭ minor
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It is not entirely certain whether Chopin wanted to keep the double bar line after this bar. In FE there are visible traces of possible corrections in print; however, it is difficult to state whether they were aimed at removing the second line. The repetitions of the D category imprint: Differences between sources issues: Authentic corrections of FE |
major part are no longer separated with a double bar line, yet it must be the presence of an introductory bass motif that explains the difference in notation. Therefore, in the main text we keep the undoubtedly authentic notation of