Articulation, Accents, Hairpins
b. 66
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composition: Op. 38, Ballade in F major
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In EE and GE the ends with the 2nd beat of bar 66. Perhaps the editors' revision was caused by the will to obtain an analogy with bar 64, in which cresc. actually embraces only the 2nd half of the bar. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins |
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b. 69
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composition: Op. 38, Ballade in F major
category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Wedges , Errors of GC |
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b. 71-72
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composition: Op. 38, Ballade in F major
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Both signs are written in A on the saff, what further hindered the legibility of the faint hairpins. As a result GC (→GE), FE overlooked them, and EE imprecisely reproduced the first sign only. category imprint: Differences between sources; Source & stylistic information issues: EE revisions , Inaccuracies in FE , Unclear hairpins in A , Inaccuracies in GC |
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b. 92-93
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composition: Op. 38, Ballade in F major
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The shortening of the sign in FE is rather certainly the result of the text's layout – bar 93 starts a new line. However, it is difficult to establish the cause for the shortening of the sign in GC. The copyist could e.g. have mistaken these bars with bars 94-95 where A has a shorter sign. We regard the inaccuracies – in relation to the Stichvorlage – of the hairpins in GE and EE as the effect of a routine adjusting of the signs to the rhythmical structures. We give the A notation in the main text. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in GC |
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b. 93
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composition: Op. 38, Ballade in F major category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections in GC |