Issues : GE revisions
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b. 110-112
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composition: Op. 31, Scherzo in B♭ minor
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The pedalling in these bars was added later: undoubtedly by Chopin in the proofreading of FE (→EE). However, one can have doubts whether the intention of Chopin's proof entry was interpreted correctly, since there is no reason to release pedals in the middle of the bar instead of at the end of it, like in all the remaining bars. Consequently, in the main text we give the version of GE2 (→GE3) modelled after the Chopinesque entry in FC in analog. b. 242-244. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions , Authentic corrections of FE |
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b. 114-117
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composition: Op. 31, Scherzo in B♭ minor
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The interpretation of the slurs of A is not easy. We consider the coinciding slurs to be the literal interpretation of the notation in b. 115-116, as it was reproduced in FE (→EE). However, according to us, it is more likely that Chopin wanted the second slur to be combined with the preceding one, which is indicated by a comparison with the unquestionable slur in analog. b. 246-249. Therefore, in the main text we suggest a slur led to the end of the phrase, modelled after those bars. The absence of the second slur in FC (→GE) may mean that it was added in A after the copy had been already completed. The additional slur in GE1 is probably a mistake. It is unclear how the extension, with respect to A, of the second slur in FE (→EE) occurred. It may be an inaccuracy, yet it cannot be ruled out that the slur was extended on purpose, perhaps even by Chopin. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations issues: Inaccurate slurs in A , GE revisions , Errors of FC |
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b. 114-115
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composition: Op. 31, Scherzo in B♭ minor
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The missing ties of the R.H. chord are almost certainly an oversight of the copyist. category imprint: Differences between sources issues: GE revisions , Errors of FC |
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b. 117
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composition: Op. 31, Scherzo in B♭ minor
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It is difficult to say conclusively whether leaving the R.H. chord without staccato dot was intended by Chopin. The dot in the L.H. and the presence of a dot in analog. b. 249 are an argument in favour of Chopin having overlooked the marking. However, on the other hand, the crotchets in b. 119, 121, 123 and 125, which can be considered analogous, are devoid of dots, in spite of the fact that the corresponding bass notes are provided with dots. According to us, an inaccuracy is more likely in this case (cf. the previous note on slurs); therefore, in the main text we give a dot. The mark was also added in GE2 (→GE3). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 119-120
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composition: Op. 31, Scherzo in B♭ minor
category imprint: Differences between sources issues: GE revisions , Errors of FC |
