Articulation, Accents, Hairpins
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b. 418-431
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composition: Op. 39, Scherzo in C♯ minor
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In these bars the question of short or long accents has not beeb resolved. Fortunately enough, a performer who has both options at his disposal is triggered to think about his own idea. The lack of most of the accents in EE must be the engraver's error - the accents end at the beginning a new line of text. The lack of accent in b. 423 in FE is an obvious error too, and we suggest two ways of dealing with it. category imprint: Differences between sources issues: Long accents , Errors in EE |
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b. 423
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composition: Op. 39, Scherzo in C♯ minor
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category imprint: Interpretations within context; Differences between sources issues: Long accents |
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b. 431
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composition: Op. 39, Scherzo in C♯ minor
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Similarly to the corresponding b. 89, we believe a long accent to be musically justified and, taking into account possible inaccuracies in reading the autograph, possibly accepted as a source. category imprint: Interpretations within context; Differences between sources issues: Long accents |
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b. 448
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composition: Op. 39, Scherzo in C♯ minor
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Similarly to the previous bars (compare bars 433-446) we retain the FE notation with a long accent that seems more appropriate here. category imprint: Differences between sources issues: Long accents |
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b. 449-453
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composition: Op. 39, Scherzo in C♯ minor
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For the main text we adopt - just like with tempo markings - the GC (→GE) version. The differences in the length of crescendo hairpins are of no relevance here, the same applies to their placement (the marking in FE is notated above the upper stave). category imprint: Differences between sources |
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