Articulation, Accents, Hairpins
|
b. 46
|
composition: Op. 31, Scherzo in B♭ minor
..
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 |
||||||||||||
|
b. 49-58
|
composition: Op. 31, Scherzo in B♭ minor
..
In b. 49-50 and 57-58 in the main text we give the category imprint: Differences between sources issues: GE revisions , Authentic corrections of FC |
||||||||||||
|
b. 54-56
|
composition: Op. 31, Scherzo in B♭ minor
..
The staccato dot, written in b. 54 in A (→FE→EE), was crossed out in FC, almost certainly by Chopin. It is demonstrated by another small correction visible in this place – dragging the slur from b. 53 to the quaver in b. 54. Taking into account the above, we do not include this dot in the main text. See also analog. b. 186-196. category imprint: Differences between sources issues: Authentic corrections of FC |
||||||||||||
|
b. 62-64
|
composition: Op. 31, Scherzo in B♭ minor
..
Out of the three accents visible in A at the beginning of subsequent quaver motifs, it is only the third one that was repeated in FC. It can be explained by them having been added in A later or, which seems more likely, by the copyist's distraction. It is also unclear which accents Chopin meant: taking into account the whole-bar category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Errors of FC |
||||||||||||
|
b. 65-66
|
composition: Op. 31, Scherzo in B♭ minor
..
We suggest adding a category imprint: Editorial revisions |
in 
