b. 666-669
|
composition: Op. 31, Scherzo in B♭ minor
..
In the main text we reproduce the hairpins after FC (→GE1), into which they were entered by Chopin (in b. 215-218, see the note to b. 658-682). The changes in the range of the marks introduced in GE2 (→GE3) do not stem from Chopin's notation. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions |
||||||
b. 672-677
|
composition: Op. 31, Scherzo in B♭ minor
..
In the main text we give an almost six-bar mark, written by Chopin in FC in b. 221-226 (according to the composer's instructions in A (→FC), these bars are to be repeated here without changes). category imprint: Differences between sources |
||||||
b. 676-677
|
composition: Op. 31, Scherzo in B♭ minor
..
The pedalling added by Chopin in FC (→GE1) in b. 225-226, of which the discussed bars are an exact repetition, is inaccurate, according to us: see the note concerning these bars. A corresponding change was introduced in GE2, yet GE3 returned to the notation of FC. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
||||||
b. 678
|
composition: Op. 31, Scherzo in B♭ minor
..
According to Chopin, this bar is supposed to be a repetition of b. 227. Due to the reasons discussed in the note concerning that bar, in the main text we interpret the mark written there by Chopin as a long accent. A similar solution was adopted also in GE2 (→GE3). category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions |
||||||
b. 678-679
|
composition: Op. 31, Scherzo in B♭ minor
..
The discussed bars are an exact repetition of b. 227-228. The slur written there in A over the b-a motif was not repeated in derivative sources, both there and here. See also b. 95-96. category imprint: Differences between sources issues: Errors in FE |