b. 466-477
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composition: Op. 39, Scherzo in C♯ minor
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In the main text we present both consistent and natural slurring of FE (and GE). In EE the slurs over chorale phrases in these bars are shorter, analogous to previous examples (in b. 226). In GC the slur in bars 474-476 (b. 476 is the last one on the page) is ambiguous as its ending suggest conitnuation but it doesnt extend over in b. 477, moreover its beginning is notated as boldly as its ending, hence its cautious interpretation. We then assume - contrary to GE - that the slur extends over 3 bars only. category imprint: Differences between sources issues: EE inaccuracies , Inaccuracies in GC |
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b. 466
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composition: Op. 39, Scherzo in C♯ minor
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In the main text we omit before d1. category imprint: Editorial revisions |
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b. 469-477
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composition: Op. 39, Scherzo in C♯ minor
category imprint: Differences between sources issues: Errors in FE |
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b. 470-472
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composition: Op. 39, Scherzo in C♯ minor
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In FE no naturals lowering d3 to d3 in b. 470 or d2 to d2 in b. 472 must be seen as errors, which is further confirmed by their lack in GC, despite the fact that Chopin personally filled them in. Naturals in EE may have been added based on the previous three corresponding occurrences of this phrase (bars 176, 220 and 308). Sharps in bars 445, 447, 466 also show that Chopin was not sure over a longer phrase if (d) belonged to the key signature. category imprint: Differences between sources issues: EE revisions , Omission of current key accidentals , Last key signature sign , Authentic corrections in GC |
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b. 471
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composition: Op. 39, Scherzo in C♯ minor
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In FE the first quaver a2 is printed at the right height but without a ledger line, which was corrected in FE2. category imprint: Source & stylistic information issues: Errors in FE |