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b. 251-265
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composition: Op. 39, Scherzo in C♯ minor
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Differences in the extent of dynamic hairpins in bars 252-257 and 260-265 may at least partly result from inaccuracies. We adopt the version of FE as our main text, with some modifications in bars 253-254 and 261-262, as shortening of category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE |
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b. 251-267
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composition: Op. 39, Scherzo in C♯ minor
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The sources differ with regard to the presence or absence of staccato dots in bars 251, 259 and 267. In our main text we apply the consistent markings of GC. The version of GE is definitely - and that of FE probably - inaccurate. The absence of the dots in EE may be the initial version. category imprint: Differences between sources issues: Errors in GE |
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b. 252-257
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composition: Op. 39, Scherzo in C♯ minor
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The only difference between the pedalling of EE and FE is the presence or absence of the pedal change at the beginning of bar 253. We include both those options in our main text as variants. The pedalling of GC (→GE) may also be authentic (cf. pedal marks in EE in bars 259-265), but the copyist's error is just as plausible, as he may have written here the pedalling for the next line of text (from bars 259-265, in which GC has no pedal marks at all). category imprint: Differences between sources issues: Errors of GC |
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b. 254
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composition: Op. 39, Scherzo in C♯ minor category imprint: Differences between sources issues: Errors in FE , Terzverschreibung error |
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b. 258
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composition: Op. 39, Scherzo in C♯ minor
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In FE, category imprint: Differences between sources issues: Errors in FE |
marks there may have been caused by ends of systems that fell between those bars in 
is missing after 
in this bar. We give the asterisk mark, as it is present in all the other sources.