Issues : Inaccuracies in GE
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b. 88
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composition: Op. 64 No 2, Waltz in C♯ minor
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The hairpin, in A and in the majority of the editions placed under the three-note progression of the bass, was moved to between the staves in GE2op (→GE3op). In this case, this quite frequently used revision completely changed the meaning of the sign. In the remaining GE, the sign was reproduced in the correct place, however, it starts already under the 1st crotchet in the bar. The absence of the sign in EEW is undoubtedly an oversight. category imprint: Differences between sources issues: Inaccuracies in GE , Placement of markings , Scope of dynamic hairpins , Errors in EE , GE revisions |
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b. 103
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composition: Op. 64 No 2, Waltz in C♯ minor
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category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 109-128
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composition: Op. 64 No 2, Waltz in C♯ minor
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Similarly as in bars 45-48, the hairpins in bars 109-112 and 125-128 are only in the version prepared for print and the first of the signs begins in the editions clearly earlier than in A. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
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b. 129-160
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composition: Op. 64 No 2, Waltz in C♯ minor
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Placement of the asterisks – see bars 1-32. Bars 131, 132, 142-143, 148, 158 and 160 were discussed separately. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 162-172
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composition: Op. 64 No 2, Waltz in C♯ minor
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Similarly as in bars 33-44 (in the autographs the discussed bars are not written out), we reproduce the range of the hairpins in the main text on the basis of A. In FE the first 4 signs correspond with the range to the notation of A, however, the next are slightly longer. The remaining editions include signs of the same, six-quaver length. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies |
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