mUltimate Chopin

Op. 39, Scherzo in C♯ minor

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b. 594-595

composition: Op. 39, Scherzo in C♯ minor

L.H. long accents in EE

R.H. short accents in GC

L.H. short accents in FE

R.H. different accents in GE

Our suggestion
..

Accents in these bars differ in length and placement. EE has two long accents, FE - two short ones. We believe that the marks in GC do not differ in size from those of the same kind in the previous bars, and so we present them as short ones. In GE an accent in b. 594 is slightly longer than the following. Both marks in GC are notated closer to the RH part, which was recreated in the same way in GE. In the remaining editions they are placed on the LH fifths. The missing autograph prevents the right assessement, and so we propose a compromise not to impose either way of interpretation of the accents.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 595

composition: Op. 39, Scherzo in C♯ minor

..

In GC there are no rests in LH, which was corrected in GE.

category imprint: Source & stylistic information

issues: GE revisions , Errors of GC

b. 596

composition: Op. 39, Scherzo in C♯ minor

No mark in EE

 in GC (literal reading)

Long accent in GC (contextual interpretation) & FE

 in GE
..

The meaning of the mark in GC in not obvious. At the first glance we have a full bar hairpin , which was interpreted as such by the engraver or revisor of GE and notated above the RH part as diminuendo must have seemed more reeasonable. However, the GC notation implies clearly that the mark does not apply solely to LH but the A1-A octave in particular, which also allows it to be seen as a long accent. FE confirms such interpretetation, where the ocatve is marked with a typical long accent.

category imprint: Differences between sources

issues: Long accents , GE revisions

b. 597-602

composition: Op. 39, Scherzo in C♯ minor

 in EE

GC (→GE)

FE (contemporary notation)
..

The earlier beginning of the  mark in EE may have resulted from the manuscript's inadequate reading. Both versions of the hairpin endings, however, are as we believe authentic and musically corresponding. They both lead to the longest and harmonically relevant chords of the RH phrase. For the main text we adopt the longer hairpins of GC (→GE), as they correspond with the RH marks (the last crescendo in bars 602-603). The second  mark in FE should most certainly  be understood as continuation of the first. Such a notation is common in Chopin's works.

category imprint: Differences between sources

issues: Hairpins denoting continuation

b. 597

composition: Op. 39, Scherzo in C♯ minor

No marks in EE

Dots in GC (→GE)

L.H. dot in FE
..

In the main text we adopt the exact GC (#→GE) notation. EE and FE may have resulted from inaccuracies in copying or engraving or may be a testimony to the many evolving stages of the authenticity of this bar's notation. 

category imprint: Differences between sources