



Articulation, Accents, Hairpins
b. 1-12
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composition: Op. 39, Scherzo in C♯ minor
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The sources differ here with regard to the placement and scope of hairpins category imprint: Differences between sources |
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b. 2-12
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composition: Op. 39, Scherzo in C♯ minor
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EE is the only source to have staccato dots in bars 2, 4, 10 and 12. There are no reasons to doubt their authenticity. category imprint: Differences between sources |
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b. 5
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composition: Op. 39, Scherzo in C♯ minor
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In the main text we give the long accent, as can be seen in EE and GC. The placement and type of accent in FE (a short one above the L.H. minim) may have resulted from difficulties with deciphering the graphics of the hand-written base text. GE has the accent taken from GC and another one, above the minim c in the L.H. This is certainly a revision, one of many of that type. category imprint: Differences between sources issues: GE revisions |
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b. 6
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composition: Op. 39, Scherzo in C♯ minor
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The staccato sign in EE and GC (→GE) is doubtless authentic. In our main text we give the wedge recorded in GC, as publishers often replaced Chopin's wedges with dots, considering the former to be inaccurate or hasty renditions of the latter (this was a rule for GE, cf. e.g. a characteristic of the B&H edition in the Nocturne in D category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 6-8
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composition: Op. 39, Scherzo in C♯ minor
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The absence of the hairpin mark in FE may be due to oversight. We insert that mark, as it occurs both in EE and in GC (→GE). Cf. the preceding note. category imprint: Differences between sources |