Page: 
Source: 
p. 4, b. 52-73
p. 1, b. 1-15
p. 2, b. 16-30
p. 3, b. 31-51
p. 4, b. 52-73
p. 5, b. 74-91
p. 6, b. 92-106
p. 7, b. 107-127
Main text
Main text
A - Autograph
FE - French Edition
FE1 - First French edition
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Second, revised impression of GE2
GE4 - Third impression of GE2
EE - English Edition
EE1 - First English edition
EE2 - Later impression of EE1
Select notes: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
A - Autograph
FE - French Edition
FE1 - First French edition
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Second, revised impression of GE2
GE4 - Third impression of GE2
EE - English Edition
EE1 - First English edition
EE2 - Later impression of EE1
Importance
All
Important
Main
Prezentacja
Select 
copy link PDF Main text


  b. 59-60

The sources differ in the range of the crescendo hairpins. In A the beginning is placed under the 1st crotchet in bar 59, while the ending reaches the 1st beat in bar 60. This is the variant we adopt in the main text. In GE the hairpins are slightly moved to the right, while in EE they begin only under the 2nd crotchet. In FE the notation of hairpins was simplified, as they were placed only under the crotchets in bar 59.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Scope of dynamic hairpins

notation: Articulation, Accents, Hairpins