Issues : Errors in GE
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b. 547
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composition: Op. 31, Scherzo in B♭ minor
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GE1 features only one accent in this bar, placed between the staves, closer to the L.H. part. Therefore, we assume that it is a L.H. accent, which means no accent for the R.H. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions |
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b. 548-551
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composition: Op. 31, Scherzo in B♭ minor
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Four accents under the bass octaves were not reproduced in such a form in any of the remaining sources. While GE2 (→GE3) contains all accents, they are placed above the octaves, which is a revision of the text of GE1 on the basis of a comparison with FC and unification by analogy (an accent was added in b. 551, which is absent in FC). category imprint: Differences between sources issues: Errors in FE , Errors in GE , GE revisions , Errors of FC |
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b. 560
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composition: Op. 31, Scherzo in B♭ minor category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 568
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composition: Op. 31, Scherzo in B♭ minor
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The missing arpeggio must be a result of the engravers' inattention, particularly in FE, in which the last arpeggios in this section were printed in b. 560. The mark was added in GE2 (→GE3). See also the note below and in b. 570-572. category imprint: Differences between sources issues: Errors in FE , Errors in GE , GE revisions |
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b. 573-576
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give 6 staccato dots, written in A over the 3-crotchet motifs. The absence of the dots in FE (→EE) is probably an oversight; the engraver could have been misled by the placement of the dots in A, i.e. close to the dashes marking the range of calando. In turn, it is unclear how the missing dots in b. 574 and 576 in GE are to be explained, since one can imagine both an oversight and a revision. However, there is no doubt that the doubled marks under the notes are a revision. category imprint: Differences between sources issues: Errors in FE , Errors in GE , GE revisions |
