Issues : Hairpins denoting continuation
b. 72-73
|
composition: Op. 45, Prelude in C♯ minor
..
Lack of signs in FE (→EE) is probably a result of a less precise marking of [A1]. The comparison with analogous bars in the entire Prelude indicates a possibility of an inaccurate (incomplete) notation also in GE. Due to that fact, in the main text we propose to complete the sign in bar 72. We also give an alternative proposition (one-and-a-half bar sign), based on the prevailing in GE way of marking similar bars. category imprint: Differences between sources issues: Hairpins denoting continuation |
||||||||
b. 81-82
|
composition: Op. 27 No 1, Nocturne in C# minor
..
In GE, bar 81 is the last bar of the system. In this situation, a new sign in bar 82 could, in Chopin's times, mean the continuation of the previous one and this is how it was understood in FE (→EE). We adopt that interpretation as definitely matching the musical sense of that fragment. category imprint: Differences between sources issues: Hairpins denoting continuation |
||||||||
b. 87-88
|
composition: Op. 45, Prelude in C♯ minor
..
The main text based on GE and FE2 and the version of FE1 present two possible interpretations of dynamic signs in this place. Shorter hairpins in EE probably result from an attempt to avoid crossing with the slur in the L.H. category imprint: Differences between sources issues: Hairpins denoting continuation |
||||||||
b. 193
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
One longer sign in FE (→EE), including also bar 194, is most probably an arbitrary decision of the engraver of FE. category imprint: Differences between sources issues: FE revisions , Hairpins denoting continuation |
||||||||
b. 194
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
Adding in FE (→EE) to the sign in bar 193 is most probably an arbitrary decision of the engraver of FE. category imprint: Differences between sources issues: FE revisions , Hairpins denoting continuation |