b. 47
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composition: Op. 39, Scherzo in C♯ minor
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Both versions of the rhythm in that bar are probably authentic. Identical rhythmic differences between those sources also occur in analogous bars 129 and 389. In the main text we give the version of FE, probably the latest one. category imprint: Differences between sources issues: GE revisions , Inserted rest |
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b. 47
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composition: Op. 39, Scherzo in C♯ minor
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As we adopt the rhythm of FE for our main text, we give the beginning of the sign after that source as well. GC (→GE) have the same version. However, in our opinion it is the hairpin in EE that conveys better what Chopin probably intended (cf. bars 113 and 129). Similarly in bars 389-390. category imprint: Differences between sources |
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b. 48-90
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composition: Op. 39, Scherzo in C♯ minor
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In GC, bars 33-90 are marked with consecutive numbers from 1 to 58. Those numbers are later used for abbreviated marking of bars 375-432, that are the repetition of bars 33-90. category imprint: Source & stylistic information |
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b. 49
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composition: Op. 39, Scherzo in C♯ minor
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EE has a short accent here. As the remaining sources clearly have long accents, the notation of the English edition must probably be inaccurate. category imprint: Source & stylistic information issues: Long accents , EE inaccuracies |
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b. 51-56
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composition: Op. 39, Scherzo in C♯ minor
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The slur of GC is evidently imprecise here – its right end reaches the end of bar 56 (in GE it ends above the 1st crotchet). This suggests that the left slur end may also be shifted to the right. For our main text we choose the concordant and unquestionable version of EE and FE. category imprint: Differences between sources issues: Inaccuracies in GC |