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b. 152-154
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composition: Op. 39, Scherzo in C♯ minor
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GC and FE clearly have long accents, EE – short ones. The marks in GE are unclear - shorter than those in bar 131 or 147, yet longer than those in bar 139. We assume them to be long accents, just like it was done in GC. category imprint: Differences between sources; Source & stylistic information issues: Long accents |
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b. 154-155
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composition: Op. 39, Scherzo in C♯ minor
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FE and GE have a double bar line between those bars. In the case of GE, this is definitely a revision (in GC, its base text, the bar line is single). This makes us suspect that the version of FE may also result from a routine editorial revision. Chopin used double bar lines infrequently and never treated them as necessarily connected with the change of key. category imprint: Source & stylistic information issues: GE revisions , FE revisions |
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b. 154-155
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composition: Op. 39, Scherzo in C♯ minor
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In #KG, the tie sustaining a flat is only present in bar 155 (in a new line). This was probably the reason why GE1 did not have it at all. The error was corrected in GE2. category imprint: Source & stylistic information issues: Errors in GE , Inaccuracies in GC |
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b. 155-158
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composition: Op. 39, Scherzo in C♯ minor
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As is the case with the slur, the earlier beginning of the hairpin mark category imprint: Differences between sources issues: Inaccuracies in GC |
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b. 155-159
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composition: Op. 39, Scherzo in C♯ minor
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The earlier beginning of the slur in EE and GC (→GE) seems inaccurate, as the choral phrases of that part of the Scherzo always begin in the 2nd bar of a four-bar section, in this case in bar 156. category imprint: Differences between sources issues: Inaccuracies in GC |
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