Slurs
b. 1-12
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composition: Op. 39, Scherzo in C♯ minor
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Slurs below the staff in bars 1-4 and 9-12 were added in GE, doubtless by a reviser; the same goes for bars 12-14 and many other places. Such doubling of performance indications is very rarely found in authentic sources. category imprint: Differences between sources issues: GE revisions |
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b. 4-6
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composition: Op. 39, Scherzo in C♯ minor
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Differences in the slur scope are probably the result of Chopin's inaccurate notation in the autograph (or autographs). As all the sources are unanimous in a similar situation found in bars 12-14, we are allowed to consider the slur of GE as best reflecting the composer's intention. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GC |
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b. 5-6
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composition: Op. 39, Scherzo in C♯ minor
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The slur in GC (→GE), embracing the entire bar 5, is probably imprecise – cf. the slur of the upper voice and a similar situation in bars 13-14. This is probably due to misunderstanding the notation of the autograph (not very precise itself) by the copyist. In the main text we give the slur of FE. The notation of EE (no slur above the lower staff) may be regarded as the original revision of the slurring of that motif (similarly in bars 13-14). category imprint: Differences between sources issues: Inaccuracies in GC |
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b. 6-20
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composition: Op. 39, Scherzo in C♯ minor
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The slur above the R.H. appears three times in EE (bars 6-8, 14-16 and 18-20) and twice (bars 6-8 and 14-16) in GC (→GE). FE has no slur in any of those places. category imprint: Differences between sources |
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b. 13-14
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composition: Op. 39, Scherzo in C♯ minor
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Only GC (→GE) has the slur above the lower voice motif in the two hands part. The slur in GC begins from the rest, which could suggest that it is connected with the quadruple marking (cf. bars 5-6). However, that interpretation is contradicted by the right end of the slur that clearly reaches a in bar 14. category imprint: Differences between sources |