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b. 5
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composition: WN 37, Lento con gran espressione
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In A1 one can see that the 6th quaver was initially an f category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
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b. 5-6
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composition: WN 37, Lento con gran espressione
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In the main text we give the slur of CK (→CB), which is unquestionable in terms of image and music. According to us, it can also be considered an interpretation of the possibly inaccurate slurs of A1 and CJ. The slurring of A1 is generally rather of draft nature – careless and mostly short slurs appear only occasionally. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A , Inaccuracies in JC , Revisions in EL |
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b. 5-10
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composition: Op. 28 No. 2, Prelude in A minor
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In EE the L.H. slur in b. 5 – the first in a new line – begins from the 1st quaver, although the slur in the previous bar suggests continuation. The inaccuracy was most probably a side effect of the slur in b. 5-7 having been moved under the notes (though otherwise justified, since the notation of FE is illogical here: the slur in b. 1-4 is led under the notes, whereas its continuation in b. 5-7 – above). Inconsistent slurs between lines are also present in FC and GE – slurs in the bars opening a new line (b. 6 and 10 in FC and 5 and 9 in GE) run from the 1st quaver of the bar, contrary to the notation at the end of the preceding lines. (We do not reproduce the inaccuracies of FC in our transcriptions due to a different division into great staves.) category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Inaccuracies in GE , EE inaccuracies , Inaccuracies in FC , Uncertain slur continuation |
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b. 5-12
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composition: Op. 28 No. 2, Prelude in A minor
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As does not contain a single accidental in the R.H. part, in the entire piece (except for the final chords). In the case of the grace notes in b. 5 and 10, the missing sharps next to the grace notes seem to be obvious, although only on the assumption of a general compliance of the harmonic plan of the draft with the final version of the Prelude (accompaniment in these and adjacent bars is not even marked). In turn, the use of f category imprint: Interpretations within context; Differences between sources; Source & stylistic information |
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b. 5-20
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composition: Op. 28 No. 2, Prelude in A minor
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In the main text we give the grace notes in b. 5, 10, 17 and 20 in the form of non-slashed grace notes, in accordance with the notation of A (→FE→EE). However, in this context, it does not mean a performance that would be radically different from a common, slashed grace note, which is indicated by:
According to us, taking into account the tempo and character of the music and all the above factors, one can recommend the following rhythmic solution of this detail: category imprint: Differences between sources issues: Notation of grace notes , Fontana's revisions |
, like in b. 13 and 46.
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