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WN 55, Waltz in F minor

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Articulation, Accents, Hairpins

b. 17

composition: WN 55, Waltz in F minor

 
 
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Diminuendo is present only in FEF and GEF and must be a part of Fontana's annotations.

category imprint: Differences between sources

b. 17

composition: WN 55, Waltz in F minor

 
 
 
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There is an ambiguous sign in two autographs, AO and AG. It may be interpreted as a wedge or staccato. In AO, the marking is not placed directly over the b1, note, it is moved to the left, towards the bar line. In AG, the marking is written over the b1.
In CY, the copyist wrote a staccato dot. 

category imprint: Graphic ambiguousness; Differences between sources

b. 20

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

b. 21

composition: WN 55, Waltz in F minor

 
 
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The accent in FEF and GEF must be Fontana's revision.

category imprint: Differences between sources

b. 24

composition: WN 55, Waltz in F minor

 
 
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The short accent present only in FEF and GEF was most likely added by Fontana.

category imprint: Differences between sources