b. 414-416
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composition: Op. 39, Scherzo in C♯ minor category imprint: Differences between sources issues: Inaccuracies in GC |
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b. 416-431
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composition: Op. 39, Scherzo in C♯ minor
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The length of an accent used here remains an unsettled issue - short in EE and GC or long in FE (also in subsequent bars - compare bars 418-431). For GE we adopt a short accent just like GC, and the fact that the accent is placed under the RH part must have been the engraver's arbitrary decision. category imprint: Differences between sources issues: Long accents , Placement of markings , GE revisions |
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b. 416-417
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composition: Op. 39, Scherzo in C♯ minor
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Even though EE is the only one without a tie on c, we believe this version to be authentic and propose to have a variant bracketed tie for the main text. category imprint: Differences between sources |
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b. 417-431
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composition: Op. 39, Scherzo in C♯ minor
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In bars 417, 420-421, 423-429 and 431 augmentation dots for the RH minims were supplemented in GE. The dots were omitted in GC in the right bars of the 75-89 sequence. category imprint: Differences between sources issues: GE revisions |
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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 |