Articulation, Accents, Hairpins
b. 103-104
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The absence of in FE (→EE,GE1op,GE1no2) is certainly an oversight. The sign was added in later GE, placing its beginning 2 quavers earlier. category imprint: Differences between sources issues: Errors in FE , Scope of dynamic hairpins , GE revisions |
||||||||||
b. 109-128
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
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 |
||||||||||
b. 129-130
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
Shortening the hairpin in the editions is most probably a result of an inaccuracy of the engraver of FE. The absence of the sign in EEC is undoubtedly a mistake. category imprint: Differences between sources issues: Inaccuracies in FE , Errors in EE |
||||||||||
b. 131
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
In the main text we unify the range of the hairpins in bars 131-132 and 135-136 on the basis of the notation of A in bar 3 and 7-8. The signs in FE begin earlier and in the remaining editions they were extended even more: in GE1op and GE1no2 on the right-hand side, in the remaining – on the left-hand side. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
||||||||||
b. 133-134
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The lack of the hairpin in the majority of GE is probably a result of an oversight of the engraver of FE, which was then corrected in the very FE (→EE). The sign was added in GE2no2 too. We reproduce the range of the sign on the basis of the notation of A. Cf. bars 3-4. category imprint: Interpretations within context; Differences between sources issues: Scope of dynamic hairpins , GE revisions , EE inaccuracies , Authentic corrections of FE |