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Long accents in bars 46-47 in FE |
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5 short accents in EE1 |
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6 short accents in EE2 |
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Long accents in bars 47 & 49 suggested by the editors |
The indications of a dynamic character show in this fragment – both here and in the reprise (bars 233-237) – a considerable variety, which proves Chopin's polishing of this aspect of performance still during the publication of the piece. In the table presented below, indications in particular sources have been schematically presented, marking subsequent bars of the discussed section with numbers from 1 to 5:
| bars | 1 | 2 | 3 | 4 | 5 | |
| FE | 45-9 |
 |
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| 233-7 | ||||||
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GC, GE |
45-9 |
|
* |
 |
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| 233-7 | ||||||
| EE1 | 45-9 |
cre |
> > - |
> scen |
- |
> >do - |
| 233-7 |
cre |
- |
> scen |
- |
> do - |
|
| EE2 | 45-9 |
cre |
> > - |
> scen |
> - |
> >do - |
| 233-7 |
cre |
- |
> scen |
> - |
> do - |
|
* An accent was overlooked in GE1 in bar 235.
The notation of FE is clearly incomplete. It is proved by the absence of accents in bars 234-235, which must have been identical with bars 46-47 in the base text – the reprise was not written out in the manuscripts. The absence of signs in bars 48-49 and 236-237 is also suspicious, as bar 48 is the first in a new line in FE, which caused oversights of copyists, engravers or even Chopin himself on numerous occasions (however, it is possible that it is the signs in GC that were added by Chopin).
The composer did not complete these places in the proofreadings of FE, however, they drew his attention, while he was preparing the base text to EE1. The indications written at this occasion define the latest authentic concept of accentuation and dynamics of these sections. We consider the version of bars 233-237 to be reliable, in which the added by Chopin indications do not interfere neither with the previous ones (from FE) nor with the ones added by the reviser. Due to the intended compatibility of both extreme sections of the Scherzo, in the main text we suggest this version in both places. Moreover, in accordance with the original notation of Chopin in [A] (→GC,FE), we adopt long accents and we place them between the staves. The accents in bars 48 and 236 were added in EE2 under the influence of GE.
In this situation, the indications of GC (→GE), not raising doubts as far as their authenticity, correctness of notation or musical accuracy is concerned, may be considered to be an alternative to the later concept, written in EE1.
Cf. changes of accentuation in bars 93-96 of the Sonata's first movement.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources; Corrections & alterations
issues: Errors in FE, Authentic corrections in GC, Authentic corrections of EE
notation: Articulation, Accents, Hairpins