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b. 603
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composition: Op. 39, Scherzo in C♯ minor
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In LH we can find sharps before G category imprint: Source & stylistic information issues: Cautionary accidentals |
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b. 603
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we reproduce the way the notes of the triplet are aligned under the quintuplet after FE (→EE,GE1→GE2). It cannot be excluded that it indicates a performance intended by Chopin, where the 2nd and 3rd quavers of the bottom voice are played simultaneously with the 3rd and 5th semiquavers of the quintuplet. In turn, the notation of GE3 corresponds to a strict rhythmic division, which one also has to take into consideration as potentially authentic – a strict division is suggested by the notation used in a similar figure in the Fantasy in A Major, Op. 13, bar 159. In practice, intermediate solutions are also possible, resulting from arpeggiating some dyads of the version of FE, which is technically easier for small hands: or . The latter marginally differs from strict rhythmic division. category imprint: Interpretations within context; Differences between sources issues: GE revisions |
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b. 603
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: EE revisions |
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b. 604
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composition: Op. 39, Scherzo in C♯ minor category imprint: Differences between sources issues: Errors in GE |
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b. 605-616
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composition: Op. 39, Scherzo in C♯ minor
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In GC these bars are notated in an abbreviated form. Letters referring to accordingly marked bars 573-584 replace the notes here. In b. 605, due to its different connection with the previous bar all notes and rests are written out but without any execution markings. The abbreviation must have alredy existed in [A1], and most probably in the remaining parts of Scherzo. category imprint: Differences between sources issues: Abbreviated notation of A |
in all the sources but the one before g
