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b. 644
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composition: Op. 39, Scherzo in C♯ minor
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In FE all chords are written as crotchets, and so the bar consists mistakenly of 7 quavers. When we compare it with EE and GC (→GE), we can actually pinpoint the miastake in the last chord of the bar. category imprint: Source & stylistic information issues: Errors in FE |
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b. 644-645
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composition: Op. 39, Scherzo in C♯ minor
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The EE pedalling, however formally correct, raises doubts as for its singling out of the third crotchet in b. 643, which in this tempo is difficult to perform and sonically unjustified. In FE pedal release in b. 645 is surprising as it contradicts the pedaling technique leading to the cumulation of sound of the subsequent chords, which was commonly used by Chopin at the end of his works (but not only there). Pedalling in GC (→GE) must have been omitted (cf. annotation to bars 632-634). For the main text we adopt the pedalling based on FE but without category imprint: Differences between sources issues: FE revisions , No pedal release mark , Errors of GC |
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b. 647
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composition: Op. 39, Scherzo in C♯ minor
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We may suspect that the rhythm of EE is an earlier version of this chord's notation. category imprint: Differences between sources |
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b. 649
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composition: Op. 39, Scherzo in C♯ minor
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In EE the octave in LH is written in short with a digit 8. category imprint: Source & stylistic information issues: Abbreviated octaves' notation |
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b. 649
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composition: Op. 39, Scherzo in C♯ minor
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The authentic notation may not have included a separate fermata below LH, as it does not appear neither in GC nor in FE. The lower fermata in GE must be a revision, so it must have also been added in EE. Both notations are equivalent but to be precie and formal we supplement the fermata in the main text. category imprint: Differences between sources; Editorial revisions |
in b. 645, whose authenticity we doubt.
