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b. 129
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composition: Op. 39, Scherzo in C♯ minor
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We consider the question of articulation and phrasing to be independent of the choice of the rhythmic variant. That's why we include the staccato dots in our main text despite the fact that they are absent from FE, i.e. the source whose rhythm we adopt as the basic one. category imprint: Differences between sources |
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b. 129-130
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composition: Op. 39, Scherzo in C♯ minor
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Staccato dots above the five octaves in the R.H. are found only in GC (→GE; #Wn2 also has dots below the L.H octaves). EE does not have any markings in that fragment. FE has a slur running from the 2nd octave of bar 129 up to the beginning of bar 143. For that reason, variants of performance markings are included in the note to bars 129-139. category imprint: Differences between sources issues: GE revisions |
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b. 129
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composition: Op. 39, Scherzo in C♯ minor
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Both versions of the rhythm in this bar are probably authentic. Identical differences in rhythm between those sources also occur in analogous bars 47 and 389. As the main text we give the version of FE, perhaps the latest. The same version was also introduced in GE2. category imprint: Differences between sources issues: GE revisions , Inserted rest |
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b. 129
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composition: Op. 38, Ballade in F major
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In the main text, we include a cautionery category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections in GC |
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b. 129
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composition: Op. 38, Ballade in F major
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The topmost component of the chord in the R.H. was written in GC as a1. This mistake was repeated in GE1; it was corrected only in GE2 (→GE3). category imprint: Interpretations within context issues: Errors of GC |
before d1 in the L.H., written by Chopin into