b. 98
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The issue of presence of the c1 notes in the 2nd and 3rd crotchets in the bar – see bar 34. category imprint: Interpretations within context; Differences between sources |
|||||
b. 98-108
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
Similarly as in bars 33-44 (in the autographs the discussed bars are their literal repetition), we reproduce the range of the hairpin after A. All editions, in spite of minor, insignificant differences, include signs of the same, six-quaver length. category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins |
|||||
b. 98-128
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The bars are not written out in any of the manuscripts. In As and AI the notation ends in bar 97, while in As the return to bar 34 is implicit, whereas in AI it is marked as Dal Segno al fine. In A, the next bars are marked with subsequent numerals from 2 to 31, which corresponds to bars 34-63 and bar 64 is written out entirely, probably to facilitate orientation in the abbreviated notation – the continuation of the Waltz is also written in an abbreviated manner. category imprint: Differences between sources; Source & stylistic information issues: Abbreviated notation of A |
|||||
b. 99-128
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
Similarly as in bars 35-64 (in the autographs the discussed bars are their literal repetition), the slurs are written only in A (→FE→GE,EE). A few situations, in which the sources differ in the notation of slurs, are discussed separately, including the slur of a non-obvious range present in AI in bars 113-114, being a repetition of bars 33-34. category imprint: Differences between sources |
|||||
b. 102-118
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
In As bar 102 is a repetition of bar 38, as a result of which, it also has two versions. The same applies to bar 118, which is not written out in As. category imprint: Differences between sources |