Issues : GE revisions
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b. 131-132
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composition: Op. 31, Scherzo in B♭ minor
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Just like in all similar situations, in the main text we give the notation of A (→FC), which is present also in GE2. The changes were introduced in the remaining editions: replacing both bars with one double bar in FE (→EE) and providing rests with digits cannot come from Chopin. category imprint: Differences between sources issues: GE revisions , FE revisions |
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b. 136-168
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composition: Op. 31, Scherzo in B♭ minor
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Just like in b. 4-36, in the main text we keep the notation of the bars filled with rests used by Chopin in A (→FC). The majority of the editions complemented the notation with digits denoting the number of bars (1 or 2 in b. 155-156) or numbering the bars (1 or 1 2). category imprint: Differences between sources issues: GE revisions , FE revisions |
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b. 137-169
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the staccato markings in b. 137, 145, 161 and 169 on the basis of the homogenous notation of FC. The alternating wedges and dots in A indicate Chopin's inaccuracy: the unquestionable wedge in b. 161, along with the notation of A in b. 5-37, make us consider the wedges to be probably intended. The omission of the markings in FE (→EE) must be a mistake, whereas the double dots in GE – a revision (there is no top dot in b. 169 in GE2, which is a patent oversight). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Errors in GE , GE revisions , Wedges , Inaccuracies in FC |
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b. 141-173
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composition: Op. 31, Scherzo in B♭ minor
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It is unclear whether the staccato markings with which Chopin provided the R.H. chords in b. 141, 149, 165 and 173 are to be interpreted as wedges or dots. The mark in b. 165 must be a wedge, whereas those in b. 141 and 173 – dots (in b. 149 the mark can be interpreted either as a wedge or a dot); however, it seems unlikely that Chopin would have wanted to differentiate between those marks within the theme. In the main text we suggest wedges due to the predominance of wedges in a similar situation in b. 9, 17, 33 and 41, where we also discuss the analogous places in the entire Scherzo. All discrepancies in the remaining sources are of an accidental nature; in GE they were combined with unifying procedures. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Errors in GE , GE revisions , Wedges , Errors of FC |
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b. 145
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composition: Op. 31, Scherzo in B♭ minor
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Just like in b. 13, in the main text we add cautionary flats. The addition was performed already in GE2 (→GE3). category imprint: Editorial revisions issues: GE revisions |
