Issues : Errors in FE
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b. 1
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composition: Op. 31, Scherzo in B♭ minor
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A is devoid of both the title and dedication (it seems that the aim of the pencilled addition at the top of the 1st page is to identify the manuscript for ordering purposes). In the main text we give them after the complete version of FC (→GE), free from mistakes. FE (→EE1→EE2) omitted the title of nobility of the dedication's addressee; there are also a few mistakes in her name and surname. Moreover, EE1 (→EE2) includes an additional, inauthentic title 'La Méditation.' The collective title page of EE3 omitted both that addition and the dedication; however, the Scherzo was marked as second. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , Errors in EE , Authentic corrections of FC |
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b. 5-37
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composition: Op. 31, Scherzo in B♭ minor
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In this context, the markings with which Chopin provided the crotchets in bars 5, 13, 29 and 37 in A may only denote staccato only, although it is not obvious whether he meant wedges or dots, since they clearly differ from dots (e.g. numerous dots extending minims or crotchets), yet their shape also does not bring to mind wedges or even vertical dashes, which could be easily identified with them. Due to that reason, in the main text we also suggest dots, next to wedges, as an alternative solution. In the remaining sources the notation of A was inaccurately reproduced; GE is an exception; in that edition the notation was unified to a form that is absent in those bars both in A and FC. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , GE revisions , FE revisions , Wedges , Inaccuracies in FC |
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b. 6-7
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composition: Op. 31, Scherzo in B♭ minor
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FE overlooked the ties of the R.H. chord. The mistake was corrected in EE. The ties are also added in FESf. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE |
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b. 22
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composition: Op. 31, Scherzo in B♭ minor
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In A the staccato marking with which Chopin provided the last octave looks like a small wedge. However, in the subsequent appearances of this motif, i.e. in b. 46 and 154, the composer used a dot; thus, we give it in the main text. After all, Chopin did not question the dot present in FC, although he had the opportunity to do so, since the extension of the slur proves that he paid attention to that motif while proofreading FC. The dot is also supported by the situation in the last analogous place: in bar 605 the mark overlooked in A was most probably added by Chopin in FC and it is a dot. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Wedges , Inaccuracies in FC |
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b. 46
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composition: Op. 31, Scherzo in B♭ minor
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The missing dot in FE (→EE) is most probably an oversight – in A a small dot is quite far from the octave it concerns. category imprint: Differences between sources issues: Errors in FE |
