FC
Main text
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
compare
  b. 16-19

2 signs in bars 16-19 in A

2 signs in bars 16-17 in FC (→GE)

1 sign in bars 16-19 in FE (→EE)

In A b. 16 ends a line, while the  hairpin ends quite clearly beyond the bar line. Perhaps this was the reason it was combined with the mark in b. 17-19, which resulted in one long . According to us, such an interpretation is unjustified, since in two previous lines the hairpins in A also go beyond the bar line, which is almost certainly merely an inaccuracy (cf. also the inaccurate, overlapping marks in b. 5-6 and 9). Therefore, in the main text we keep the separate marks, particularly since the latter begins only just on the 2nd beat of b. 17. It was also Fontana that did not reproduce the notation of A correctly, since he started writing the mark in b. 17 already at the beginning of the bar, but did not write its ending in b. 18-19.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Scope of dynamic hairpins, FE revisions, Errors of FC, Inaccuracies in FC

notation: Articulation, Accents, Hairpins

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