Issues : Scope of dynamic hairpins
b. 7-8
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composition: Op. 64 No 3, Waltz in A♭ major
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The hairpin is shifted in FE – contrary to A – to the beginning of the bar. In the editors opinion, this is due to inaccuracy. In GE1op and GE1Ab both and signs were overlooked in these bars, what later versions of GE supplemented. category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE |
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b. 105-106
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composition: Op. 64 No 3, Waltz in A♭ major
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In the main text, we give the hairpin on the basis of A. The versions of the editions are either an inaccurate image of A, as it is in the case of FE (→EE), or a result of a revision unifying similar places – GE2op (→GE3op). In the remaining GE the sign was overlooked. category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE , GE revisions |
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b. 107-108
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composition: Op. 64 No 3, Waltz in A♭ major
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The moment of the beginning of the sign in A is unclear. We assume the top arm, written first, to be reliable. In FE (→EE) the sign starts from the beginning of the bar, which may be considered an alternative interpretation of A, however, the fact of shortening the sign is a patent inaccuracy of the engraver. The missing hairpin in GE is probably an oversight or a proof of the fact that the sign was added only in the last proofreading of FE. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE |
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b. 110-111
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composition: Op. 64 No 3, Waltz in A♭ major
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According to us, the notation of A clearly suggests a continuation of the hairpin in bar 111, which was not written out, in accordance with a sign corresponding it in bar 3. In the editions, however, it was only the sign in bar 110 that was more or less accurately reproduced. category imprint: Interpretations within context; Differences between sources issues: Scope of dynamic hairpins , Errors in GE , EE inaccuracies |