Issues : Hairpins denoting continuation
b. 257-258
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composition: Op. 35, Sonata in B♭ minor, Mvt II category imprint: Differences between sources issues: FE revisions , Hairpins denoting continuation |
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b. 436-438
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composition: Op. 16, Rondo in E♭ major category imprint: Differences between sources |
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b. 597-602
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composition: Op. 39, Scherzo in C♯ minor
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The earlier beginning of the mark in EE may have resulted from the manuscript's inadequate reading. Both versions of the hairpin endings, however, are as we believe authentic and musically corresponding. They both lead to the longest and harmonically relevant chords of the RH phrase. For the main text we adopt the longer hairpins of GC (→GE), as they correspond with the RH marks (the last crescendo in bars 602-603). The second mark in FE should most certainly be understood as continuation of the first. Such a notation is common in Chopin's works. category imprint: Differences between sources issues: Hairpins denoting continuation |
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b. 598-600
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composition: Op. 39, Scherzo in C♯ minor
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In FE the dynamic hairpin is placed above the RH part, which may be a practical solution applied by the engraver. The mark is split into two parts dues to the barline of b. 599. category imprint: Source & stylistic information issues: Hairpins denoting continuation |
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b. 627-629
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composition: Op. 39, Scherzo in C♯ minor
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For the main text we adopt the scope of hairpins based on GC (→GE). In EE they are a little shorter, which may be treated as a parallel, slightly different version. A clearly earlier ending of the mark in FE seems less accurate, and moreover, according to an out-of-date convention the continuation of crescendo in b. 627, starting a new line, was marked with new hairpins. category imprint: Differences between sources issues: Hairpins denoting continuation |