Issues : FE revisions

b. 16

composition: Op. 28 No. 4, Prelude in E minor

No hairpins in As & EE1

  in A, contextual interpretation

  in FC (→GE) & EE2

  in FE

  in CGS

..

The range of the   hairpins in A is unclear, since the  is written at the end of the line, practically already beyond the bar line. In spite of that, diminuendo must concern also b. 16, since at the beginning of b. 17 we can already see a new sign – . This is how it was interpreted both in FC (→GE) and FE (with a slight difference in the range), and this is the interpretation we give in the main text. The absence of the marks in EE1 is most probably a mistake of the engraver, rectified in EE2 on the basis of a comparison with GE1, which is indicated by the compliance of the range of the marks. The hairpins in CGS are most probably inaccurately outlined marks of FE.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: EE revisions , Scope of dynamic hairpins , Errors in EE , FE revisions , Fontana's revisions , Inaccuracies in A

b. 18

composition: Op. 28 No. 4, Prelude in E minor

No markings in As & CGS

 under 3rd quaver in A (→FCGE) & FE2 (→EE)

 under 1st quaver in FE1

..

The absence of pedal markings in As and CGS – see the note in bar 17. The earlier placement of the  sign in FE1 is certainly due to an inapt interpretation of A wherein the letter 'p' actually starts already under the first quaver. The inaccuracy was corrected in FE2.

category imprint: Differences between sources

issues: Inaccuracies in FE , FE revisions