Issues : Inaccuracies in GE
b. 6-7
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composition: Op. 31, Scherzo in B♭ minor
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The analysis of the or markings, written by Chopin in A in these and analogous bars, leads to the conclusion that, despite significant differences in length (from a long accent to a two-bar hairpin), all of them most probably denote long accents. Due to that reason, in the main text we decided to unify them; we adopted a compromise marking, which is more or less one-bar long. In the remaining sources Chopin did not interfere with the shape of those markings. category imprint: Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions |
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b. 69
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composition: Op. 31, Scherzo in B♭ minor
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Lack of understanding of the Chopinesque long accents is common in the editions, particularly in EE and GE, but copyists would sometimes also identify them incorrectly. See also b. 77. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , EE inaccuracies |
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b. 72-76
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we add the indication cresc. added by Chopin in FC along with the dashes marking its range between b. 72 and b. 80. GE1 overlooked the dashes, but they were then added in GE2 (→GE3). category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Authentic corrections of FC |
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b. 77-80
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composition: Op. 31, Scherzo in B♭ minor category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Authentic corrections of FC |
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b. 83-86
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give a pair of hairpins written by Chopin in FC. In GE the latter was arbitrarily extended so that it starts from the beginning of b. 85. category imprint: Differences between sources |