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Op. 39, Scherzo in C♯ minor

Text Compare Notes Sources Description

Issues : Omission of current key accidentals

b. 95

composition: Op. 39, Scherzo in C♯ minor

No accidentals in EE, GC (→GE) & FE1

Naturals in FE2

Our suggestion
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We consider the version with the octave D sharp-d sharp to be the main one, as none of the sources that could be based on the autograph (GC, EE, FE1) has naturals. Still, omission of those accidentals is very probable in that context, so the version of FE2 (D-d) could actually be the one intended by Chopin. To make things clear, we notate the version D sharp-d sharp with cautionary accidentals. Cf. bar 433.

category imprint: Interpretations within context

issues: Accidentals in different octaves , Omission of current key accidentals

b. 98

composition: Op. 39, Scherzo in C♯ minor

..

GC has no  raising f sharp1 to f double sharp1. That obvious inaccuracy was corrected in GE. In EE, there is no  raising a1 to a sharp1. 

category imprint: Source & stylistic information

issues: Accidentals in different octaves , Errors in EE , Omission of current key accidentals , Errors of GC

b. 272

composition: Op. 39, Scherzo in C♯ minor

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In FE, there is no  raising g1 to g1. This patent inaccuracy could have already been present in the manuscript. 

category imprint: Differences between sources

issues: Errors in FE , Omission of current key accidentals

b. 333

composition: Op. 39, Scherzo in C♯ minor

..

In FE there is no  augmenting b to b. This is obvious  inaccurracy in Chopin's notation, as when he wrote this bar in [A2] he was convinced that the change of key signatures had already taken place.

category imprint: Differences between sources

issues: Errors in FE , Omission of current key accidentals

b. 433

composition: Op. 39, Scherzo in C♯ minor

Octave D-d in EE & GE2

D-d in GC (→GE1) & FE
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None of the sources seems to be authentic enough. No accidentals before the third octave in GC (→GE1) and FE suggests its reading as D-d, however, it can be argued that in Chopin's works we often see omission of accidentals in similar situations. On the other hand in EE the naturals must have been added by a revisor (it is more than certain in GE2). In contrast to b. 95, the stylistic criteria suggest erranoeous omission of naturals: bars 433-434 belong to the first part of chromatic progression, which solely aims to retain the the interval structure of motifs. Therefore, the D-d octave version we present as the main one.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals