Issues : Scope of dynamic hairpins
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. 14-15
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composition: Op. 31, Scherzo in B♭ minor
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In accordance with the analysis of the or marks written by Chopin in A in this and analogous pairs of bars (see b. 6-7), in the main text we give an averaged, more or less one-bar long hairpin featured in FC and EE. According to us, all marks, regardless of their length, should be interpreted as long accents. category imprint: Differences between sources; Editorial revisions issues: Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in FC |
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b. 30-31
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composition: Op. 31, Scherzo in B♭ minor
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The interpretation of the notation of A is problematic here: b. 30 ends the line, and the mark goes far beyond the bar line (in b. 31 there is already no mark). We assume that it is a one-and-a-half-bar mark, like in GE2 (→GE3). In the main text, in accordance with the analysis of the Chopinesque or marks in this and analog. pairs of bars (see b. 6-7), we give here an averaged, more or less one-bar hairpin of EE. According to us, all marks, regardless of their actual length, should be interpreted here as long accents. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , EE revisions , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Inaccuracies in FC |
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b. 71-72
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composition: Op. 31, Scherzo in B♭ minor
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The hairpin was written into FC (→GE) by Chopin. An exact placement of the right-hand end of the mark is impossible due to the way Chopin wrote longer rhythmic values: in b. 72 the mark reaches the dotted minim in the bottom voice of the R.H., which is, however, written between the 2nd and 3rd quavers of the L.H. In the main text we place the end of the mark in a way that it does not go beyond the notes of the chord that opens the bar. In GE2 (→GE3) the mark was shortened even more by adjusting it to the size of the bar. category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC |
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b. 99-100
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composition: Op. 31, Scherzo in B♭ minor
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In the main text we give the hairpin written by Chopin in FC (→GE1). The two-bar mark in GE2 (→GE3) is a result of a standard revision adjusting hairpins (and also, e.g. slurs) to rhythmic structures, e.g. bars. category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC |