Issues : Scope of dynamic hairpins
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b. 49-50
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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In the main text we reproduce the notation of the principal source, i.e. FE (see General Editorial Principles and the characterisation of FE4). category imprint: Differences between sources issues: Scope of dynamic hairpins |
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b. 80
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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Each of the three source versions of the range of the sign may correspond to Chopin's intention. According to us, the sign has a nature of a long accent, emphasising both the dynamic relation of the delay of d2 and its resolution c2. Therefore, in the main text we give a sign on the basis of FE, which presents this double sense in the clearest manner. The absence of a hairpin in GE is certainly a result of an oversight (cf. the note on the tie). category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Scope of dynamic hairpins , Errors in GE |
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b. 174-175
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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A comparison with FE, which is also based on [A], suggests that the hairpin in GC (→GE) was misplaced – cf. b. 171. The copyist's momentary distraction is also supported by the fact that the slur ends too early (see the next note). Two marks in EE2 probably result from a comparison with the version of GE. category imprint: Differences between sources issues: EE revisions , Scope of dynamic hairpins , Errors of GC |
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b. 219-221
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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One sign in FE indicates that two signs in GC (separated with a transition to a new line) are to be interpreted as a continuous . The notation of GE is certainly arbitrary – erroneous or revised. In GC and GE the dashes marking the range of crescendo from bar 217 are led to the beginning of the hairpin, in spite of the fact that in each of these sources the signs start in another place. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
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