mUltimate Chopin

Op. 31, Scherzo in B♭ minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Articulation, Accents, Hairpins
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Articulation, Accents, Hairpins

b. 231-234

composition: Op. 31, Scherzo in B♭ minor

No signs in A (→FE→EE)

  in FC (→GE1)

  in GE2 (→GE3)
..

In the main text we give   entered by Chopin into FC (→GE1). The shift of the beginning of the  mark in GE2 (→GE3) corresponds to standard revisions adjusting hairpins to rhythmic structures, e.g. bars. The shift of the  mark seems to be an accidental arbitrary decision.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , Authentic corrections of FC

b. 235-238

composition: Op. 31, Scherzo in B♭ minor

No signs in A (→FC→GE1, →FE→EE)

2  in GE2 (→GE3)
..

Two two-bar  hairpins were repeated in GE2 (→GE3) after the authentic marks in b. 103-106.
There is a similar situation in b. 686-689. 

category imprint: Differences between sources

issues: GE revisions

b. 239-240

composition: Op. 31, Scherzo in B♭ minor

No sign in A (→FE→EE)

 in bar 240 in FC (→GE1)

 in bars 239-240 in GE2 (→GE3)
..

In the main text we give the  mark entered by Chopin into FC (→GE1). In GE2 (→GE3) the mark was extended so that it encompasses two bars (from b. 239) after the authentic  mark in analogous b. 107-108. A similar situation can be found in b. 690-691.

category imprint: Differences between sources; Corrections & alterations

issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC

b. 249

composition: Op. 31, Scherzo in B♭ minor

Staccato dots in A (→FC→GE)

No marks in FE (→EE)
..

The missing dots at the beginning of the bar (in both hands) is almost certainly an oversight of the engraver of FE (→EE).

category imprint: Differences between sources

issues: Errors in FE

b. 250-256

composition: Op. 31, Scherzo in B♭ minor

Accents &  in A

& accent in FC (→GE1)

Different accents in FE

Different R.H. & L.H. accents in EE

Short accents in GE2 (→GE3)

Long accents, our alternative suggestion
..

Despite significant differences in the length of the marks in b. 250, 252, 254 & 256 visible in A, we consider all of them to be accents. The mark in b. 250 in itself could be regarded as a long accent; however, in the context of two subsequent ones, we interpret it as a short accent. Due to the reasons discussed in analogous b. 118-124, in the main text we give a notation unified with four short accents; such a solution was also applied in GE2 (→GE3). The two missing marks in FC (→GE1) are most probably an oversight, while the changes introduced in EE, with differentiated accents for both hands and vertical accents, the latter being typical of that edition – a revision.   

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Long accents , EE revisions , Inaccuracies in GE , GE revisions