Issues : Long accents
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b. 581-588
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composition: Op. 39, Scherzo in C♯ minor
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Accents in these bars may be interpreted as long (especially in FE, and probably in GC) or short (EE and GE, more probbale in GC). For the main text we adopt short accents because of the notation including rests at the end if each bar - if Chopin wanted to suggest longer sounds, he should have written crotchets. As and additional argument to support this view, we see that in FE in bars 613-616, repeating bars 581-584, there are short accents. In FE there is no accent in 588, which is obvious inaccuracy. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in FE |
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b. 591
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composition: Op. 39, Scherzo in C♯ minor
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Accents in EE and FE are distictly longer than those of the following bar. In GC (→GE) there is no difference. In the main text we take into account differences in the notation of accents, as it naturally relates to the rhythmic values of notes. In FE accents in bars 591-593 are placed below the staff. This is rather an example of a common engraving manner that placed accents, articulation signs, etc. on the side of the note heads. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Placement of markings |
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b. 594-595
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composition: Op. 39, Scherzo in C♯ minor
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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 |
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b. 596
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composition: Op. 39, Scherzo in C♯ minor
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The meaning of the mark in GC in not obvious. At the first glance we have a full bar hairpin category imprint: Differences between sources issues: Long accents , GE revisions |
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b. 601
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composition: Op. 39, Scherzo in C♯ minor
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Regradless of the differences in length and placement, the marks in all the sources (except GE1, where there is no mark) clearly fall on the minim on the second beat of the bar, which allows for seeing a long accent here - more or less precisely copied. category imprint: Interpretations within context issues: Long accents |
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