Articulation, Accents, Hairpins
b. 2-3
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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According to us, out of two sources based directly on [A] – GC and FE – it is the copy that may convey a more accurate representation of this place in the autograph, since the text in FE is too tightly packed. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Errors in GE , GE revisions |
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b. 7-8
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The fact of beginning the hairpin in FE (→EE1) later can be justly considered to be an inaccuracy related to the abbreviated notation of bar 7 in [A] and layout of the text in FE, in which bar 8 opens the 2nd line. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 11
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The hairpin in GE begins earlier than in the remaining sources. Such an adjustment of a sign to an entire bar is a typical inaccuracy of GE. category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE |
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b. 14-15
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The differences in the length of the hairpin must be of accidental nature. 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; Corrections & alterations issues: Inaccuracies in GE , Scope of dynamic hairpins |
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b. 16
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The differences between GC, FE (→EE1) and GE seem to be accidental inaccuracies. The solution we suggest in the main text is an attempt to reconstruct [A] on the basis of the discrepancies between GC and FE. The same range of the hairpin was introduced in EE2 - probably on the basis of a comparison of FE with GE. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in GC |