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b. 20
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composition: WN 55, Waltz in F minor
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The grace notes written in semiquavers are present only in CX and F. The remaining sources include quaver grace notes. category imprint: Differences between sources |
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b. 20
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composition: WN 55, Waltz in F minor
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In F, there is an e category imprint: Differences between sources |
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b. 20
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composition: WN 55, Waltz in F minor
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In AR, there is a single bar line, in CC and CX - double. We adopt a double bar line and repeat sign for the editorial version of these sources - such a way of notation, proper to the variant with two voltas, is present in the remaining sources. In FEF and GEF, there is no second volta, since the repetition was written out with notes. category imprint: Differences between sources; Editorial revisions |
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b. 20
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composition: WN 55, Waltz in F minor
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In AE, the crescendo hairpin ends just before the last semiquaver in the R.H. However, there is a second hairpin written in pencil in this place, dragged beyond the double bar line until the 1st beat in the second volta. It can be considered a graphic clarification of the original crescendo, now encompassing also the last note in the R.H. In the edited version of AE, we suggest extending the dynamic hairpin to the end of the first volta. category imprint: Differences between sources; Editorial revisions issues: Scope of dynamic hairpins |
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b. 20
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composition: WN 55, Waltz in F minor
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In AG, the repetition of the fragment in bars 20-52 is written inaccurately - a respective sign at the end of the piece is missing. category imprint: Differences between sources |
minim on the 1st beat in the L.H. The autographs and copies feature a crotchet in this place.
