b. 155-158
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composition: Op. 39, Scherzo in C♯ minor
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As is the case with the slur, the earlier beginning of the hairpin mark in GC (→GE) is probably an inaccuracy of notation. category imprint: Differences between sources issues: Inaccuracies in GC |
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b. 155-159
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composition: Op. 39, Scherzo in C♯ minor
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The earlier beginning of the slur in EE and GC (→GE) seems inaccurate, as the choral phrases of that part of the Scherzo always begin in the 2nd bar of a four-bar section, in this case in bar 156. category imprint: Differences between sources issues: Inaccuracies in GC |
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b. 155-157
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composition: Op. 39, Scherzo in C♯ minor
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In GC (→GE) the indication sostenuto is written slightly earlier – it begins from the end of bar 155. FE has the abbreviated form sosten. As our main text we take the notation of EE, consistent with the placement of that indication in FE . category imprint: Source & stylistic information |
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b. 155
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composition: Op. 38, Ballade in F major
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According to us, beginning the mark clearly before the minim and placing it on its stem means that it is a long accent, written proportionally to the unexpected length of the note. This is the interpretation we give in the main text. The versions of the remaining sources are attempts at an explicit reproduction of form and meaning of the mark by the copyist and the engravers. However, none of them took into account both elements of notation indicated above, and the size of the mark forced them to interpret it as a hairpin. category imprint: Differences between sources issues: Unclear hairpins in A |
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b. 155
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composition: Op. 38, Ballade in F major
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The lack of slur under the bass progression results most likely from an oversight of the copyist in GC (→GE) and the engraver of EE. category imprint: Differences between sources issues: Errors in EE , Errors of GC |