b. 20
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composition: Op. 64 No 2, Waltz in C♯ minor
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No pedalling indications in this bar is most probably a result of revision of GE2op (→GE3op), aiming at unifying bar 4 and 20. As far as the placement of the sign is concerned, it is only the version of A that is authentic, the remaining are most probably a result of a routine interpretation of indications by engravers or simply an inaccuracy in reproducing the base text. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 21-22
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composition: Op. 64 No 2, Waltz in C♯ minor
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The hairpin was inaccurately reproduced in the editions – already in FE (→GE1op,GE1no2) the sign is clearly shorter, which in the remaining editions was subject to further distortions or revisions. The compatibility of the sign's range in A and GE2op (→GE3op) and EEW is a result of overlapping of arbitrary, yet contrary changes. category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , EE inaccuracies |
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b. 22
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composition: Op. 64 No 2, Waltz in C♯ minor
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No pedalling in the editions – the indications were added only in GE2no2 – is almost certainly a mistake of the engraver of FE. Similarly in bar 30. category imprint: Differences between sources issues: Errors in FE , GE revisions |
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b. 24
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composition: Op. 64 No 2, Waltz in C♯ minor category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 25
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the main text we suggest adding a sign in this bar due to analogy with bar 9, yet above all due to the hairpin written in A in closely analogous bar 153. category imprint: Editorial revisions |