Issues : Inaccurate slurs in A
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b. 508-515
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composition: Op. 31, Scherzo in B♭ minor
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The slur of A in b. 508 indicates the e category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions , Errors of FC , Inaccuracies in FC |
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b. 539-540
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composition: Op. 31, Scherzo in B♭ minor
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The range of the slur over the L.H. crotchets, present only in A, is unclear: its beginning falls on between the 1st and 2nd octave in b. 539. According to us, it is much more likely that the slur starts from the beginning of the bar, which is indicated by the shape of the slur. category imprint: Graphic ambiguousness issues: Inaccurate slurs in A |
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b. 540-543
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composition: Op. 31, Scherzo in B♭ minor
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The missing slur in A (→FE) in b. 540-541 is almost certainly an oversight of Chopin. The next four slurs, written in A, illustrate the difficulties in interpreting handwritten slurs, since each of them manifests a defect (a gap or a shortening), resulting from interruption in the flow of ink. The copyist overlooked 3 out of those slurs (in b. 541-542 at the end of the line of the manuscript), which was completed in GE3. EE unified the slurs: the overlooked slur in b. 540-541 was added and the excessively short R.H. slur in b. 541-542 was prolonged. category imprint: Differences between sources issues: EE revisions , Inaccurate slurs in A , GE revisions , Errors of FC |
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b. 552-559
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composition: Op. 31, Scherzo in B♭ minor
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In A the slurs over the characteristic quaver motifs generally encompass only the quaver groups in these bars (the only exception are the slurs in b. 554-555, reaching the crotchet at the beginning of the next bar). The remaining sources do not show traces of Chopin's influence on the range of those slurs. Therefore, taking into account the fact that the discussed figures are identical, in every respect, in the main text we unify the slurs, giving always the ones Chopin wrote in A more often. Such a solution was also adopted in GE2 (→GE3). Alternatively, we also suggest 6-note slurs, which are more frequent in similar motifs in the entire Scherzo. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions , EE inaccuracies , Inaccuracies in FC , Uncertain slur continuation |
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b. 560-579
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composition: Op. 31, Scherzo in B♭ minor
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The slurs encompassing the ostinato quaver figures in A are of different length: some reach the following crotchet, some do not. Statistically, it is the former that clearly prevail: 8 longer, 6-note slurs to only 4 shorter and 3 questionable ones (we interpret the questionable ones literally as short). The remaining sources do not show traces of Chopin's influence on the range of those slurs; except for minor inaccuracies, FC and GE1 reproduce the text of their Stichvorlagen, while FE (→EE) contain longer slurs only (we discuss b. 574-575 separately due to FE having overlooked the slur). In this situation, we base the main text on the above analysis of the notation of A; taking into account a high degree of structural and functional similarity of the discussed motifs, we suggest uniform, 6-note slurs in all figures. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , GE revisions , EE inaccuracies , Uncertain slur continuation |
2 minim in the next bar clearly enough for it to be considered a 6-note slur, according to us. This is how it was interpreted in 
