Articulation, Accents, Hairpins
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b. 24-26
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composition: Op. 39, Scherzo in C♯ minor
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As we not sure about Chopin's notation, for our main text we adopt the version that combines the most certain elements from various sources: three accents occur in EE and FE, and short accents in EE and GC (→GE). The omission of the accent in bar 25 in GC (→GE) is probably accidental. category imprint: Differences between sources issues: Long accents , Inaccuracies in GC |
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b. 31
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composition: Op. 39, Scherzo in C♯ minor
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Staccato signs in that bar and analogous ones occur very irregularly in the sources. For that reason we do not derive from them any general rule to be applied to similar places in the text. In this bar EE and FE have no sings. The wedge that can be seen in GC was reproduced in GE as a dot; another dot was added for the L.H. Cf. bar 113. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Wedges |
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b. 33
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composition: Op. 39, Scherzo in C♯ minor
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For our main text we adopt the long accent from GC (→GE). In the same place EE has an ordinary short accent. The accent mark in FE is probably a long one, but it is placed above the upper staff, after the indication ten. category imprint: Differences between sources issues: Long accents |
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b. 35
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composition: Op. 39, Scherzo in C♯ minor
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The accent visible in GC, if it reproduces the autograph notation faithfully, should be interpreted as a long one. EE has a short accent, which is probably an oversight, while FE and GE have none, which is probably a revision (cf. the note related to bar 377). category imprint: Differences between sources issues: Long accents , Errors in FE , GE revisions |
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b. 41-42
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composition: Op. 39, Scherzo in C♯ minor
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For our main text we take the category imprint: Differences between sources issues: Long accents |
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