mUltimate Chopin

Op. 31, Scherzo in B♭ minor

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b. 4-36

composition: Op. 31, Scherzo in B♭ minor

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In A (→#CF) Chopin did not introduce any additional indications over the semibreve rests (bars 4, 12, 23-24, 28 and 36), which was reproduced only in GE2. In FE (→EE) it was the digit 1 that was placed over each single rest, whereas a pair of bars with rests was replaced with a double bar with a two-bar rest provided with the digit 2. In GE1 in each of the discussed bars both rests were provided with the digit 1. A similar notation was introduced in GE3, in which, however, the ones in bar 24 were replaced with twos. In the main text we keep the simple but unequivocal Chopinesque notation.

category imprint: Differences between sources

issues: GE revisions , FE revisions

b. 47-48

composition: Op. 31, Scherzo in B♭ minor

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Just like in b. 23-24, in FE (→EE) this pair of bars was replaced with a double bar with a two-bar rest marked with the digit 2. In GE1 the bars were not merged, but in each of them both rests were provided with digits 1. A similar notation was introduced in GE3, in which, however, the ones in b. 48 were replaced with twos. In the main text we keep the notation of A (→FC), which is also present in GE2.

category imprint: Differences between sources

issues: GE revisions , FE revisions

b. 48

composition: Op. 31, Scherzo in B♭ minor

Double bar line in A (→FC→GE)

Single bar line in FE (→EE)
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It is not entirely certain whether Chopin wanted to keep the double bar line after this bar. In FE there are visible traces of possible corrections in print; however, it is difficult to state whether they were aimed at removing the second line. The repetitions of the D major part are no longer separated with a double bar line, yet it must be the presence of an introductory bass motif that explains the difference in notation. Therefore, in the main text we keep the undoubtedly authentic notation of A; however, according to us, both versions can be considered equivalent.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 55-56

composition: Op. 31, Scherzo in B♭ minor

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In these bars in FED one can notice vague pencilled lines; such lines may be encountered in Chopinesque pupils' copies. They may have accompanied some verbal indications of the Master, yet it is generally impossible to guess their meaning.

category imprint: Graphic ambiguousness; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FED

b. 119-123

composition: Op. 31, Scherzo in B♭ minor

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The only reason for the deletions visible in A in b. 118, 119 and 123 was attention to the notation's layout, since it was only correctly written notes that were deleted:

  • In b. 118 Chopin wrote the first 5 quavers in the R.H. without octave sign and was faced with the following dilemma: either to continue with a significant number of ledger lines or to use an octave sign in the very end of the passage, thus blurring the graphical presentation of the hand's position. The deletion proves that both possibilities were regarded as awkward.
  • in b. 119 and 123 it was only the direction of the crotchet stem that was changed – the stems pointing downwards, compliant with the rules and generally preferred by Chopin, were replaced with stems compliant with the direction of the stems in the preceding passages (upwards). At the same time, it made it possible to lead the slur to the note heads and not to the stems, which is considered better in terms of layout.

A similar correction is also to be found in b. 251.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A