Issues : EE inaccuracies

b. 1-32

composition: Op. 64 No 2, Waltz in C♯ minor

..

In A the  asterisks are put either after the 3rd crotchet in the bar (or a corresponding it rest) or before, depending on the fact whether the entire bar is based on the same chord or not. In FE the differentiation was lost – all signs are put either under or slightly after the 3rd crotchet (rest), whereas the differences are not related to the notation of A (or – consequently – to the harmony). The remaining editions reproduce the version of FE more or less accurately, although in GE the signs are generally placed after the 3rd crotchet, while in EE – rather below. In our transcriptions of particular sources, we assume that the asterisks placed in an inaccurate manner – most often slightly after the 3rd crotchet – are considered by us to be compatible with the majority of such signs in a given phrase of a discussed source.

A few particular situations – bars 4, 15, 20, 22, 24, 29, 30 and 31 – are discussed separately.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 13

composition: Op. 64 No 2, Waltz in C♯ minor

 in A (probable interpretation) & GE2no2

 in A, possible interpretation

 in FE (→EEC,GE1no2,GE1opGE2opGE3op)

in EEW

..

The range of the  hairpin written in A is unclear – the top arm seems to be much longer than the bottom one. The respective sign in FE (→EEC, the majority of GE) perhaps corresponds to the range of the bottom arm of the hairpin of A. In the main text, we suggest an averaged range of the sign, which then leads to the topmost note of the melody; a similar length of the sign is also – as a result of revision – in GE2no2. Alternatively, one can take into account the top arm, written probably first – such a longer hairpin determines the peak of crescendo practically at the beginning of the next bar. The lack of continuation of the sign in bar 13 in EEW results almost certainly from the division into great staves – in this edition bar 13 opens a new line.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Inaccuracies in A

b. 21-22

composition: Op. 64 No 2, Waltz in C♯ minor

 in A, EEw1 (→EEW2) & GE2op (→GE3op)

 in FE (→GE1op,GE1no2)

 in EEC & GE2no2

..

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

b. 29

composition: Op. 64 No 2, Waltz in C♯ minor

 before 3rd beat in A

 after 3rd beat in FE (→GE1no2) & GE2op (→GE3op)

 on 3rd beat in GE1op, EE & GE2no2

..

In FE and in a part of the remaining editions, the  sign was placed same as in the remaining bars, after the 3rd crotchet. The fact of moving the sign under the crotchet may be considered to be a revision or inaccuracy of GE1op, EE and GE2no2. Similarly in bar 31.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies

b. 39-40

composition: Op. 64 No 2, Waltz in C♯ minor

 in A

 in FE

 in GE

 in EEC

 in EEW1 (→EEW2)

..

In the main text we give the  sign written in A. It was reproduced inaccurately already in FE, by moving it one quaver earlier. Minor changes in the range were introduced also in GE and EEW, while in EEC the hairpin was extended on two entire bars.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies