Page: 
Source: 
p. 1, b. 1-39
p. 1, b. 1-39
Main text
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
EE2 - Revised impression of EE1a
EE1a - Corrected impression of EE1
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Graphic ambiguousness
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
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No differences
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
EE2 - Revised impression of EE1a
EE1a - Corrected impression of EE1
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  b. 33

 from mid-bar in A

 from beginning of bar in FC (→GE) & FE (→EE)

An earlier starting point of the  hairpin than in A seems to be an almost insignificant inaccuracy. However, the notation of A may suggest a certain detail, e.g. a correspondence between crescendo and the presence of the separated middle voice, hence in the main text we leave it unchanged. The inaccuracy of both FC and FE shows that adjusting longitudinal marks – hairpins, slurs – to rhythmic structures was not only a mannerism of engravers.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Inaccuracies in FE, Inaccuracies in FC

notation: Articulation, Accents, Hairpins

Missing markers on sources: A, FC, FE1, FE2, FED, FEJ, FES, FESch, GE1, GE2, GE3, EE1, EE2, EE1a