Slurs
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b. 47-48
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composition: Op. 28 No. 12, Prelude in G♯ minor
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As was the case with b. 44-45, we encounter similar problems in the interpretation of phrase marks and slurs to the ones in b. 7-9, since the discussed bars are merely marked as a repetition of b. 7-8 in the manuscripts. Like before, in the main text we give a literal interpretation of the phrase marks and slurs of A, here flawlessly reproduced in FE (→EE). category imprint: Differences between sources |
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b. 51-52
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composition: Op. 28 No. 12, Prelude in G♯ minor
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A separate slur over bar 52 is certainly a mistake by the engraver of EE who started one-bar-long slurs a bar too early. The ending of slur in bar 52 (at the end of line) is inaccurate in FE – it suggests a continuation not to be confirmed by the slur in the next bar. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Errors in EE , Uncertain slur continuation |
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b. 61-64
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composition: Op. 28 No. 12, Prelude in G♯ minor
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category imprint: Differences between sources issues: Errors of FC |
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b. 79-80
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composition: Op. 28 No. 12, Prelude in G♯ minor
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The beginning of the slur in b. 79 falls in A between the 1st and 2nd crotchets. A comparison with b. 77 and suggestive examples of slurs written in a "pointing" manner, e.g. the L.H. slur in b. 78-79, suggest that the slur should start from the 1st crotchet, as was interpreted in FE (→EE). However, in the main text we suggest a literal interpretation of the slur, i.e. from the 2nd crotchet, to keep the difference between b. 77 and 79, clearly visible in A. This is how Fontana interpreted that slur in FC (→GE), regardless of the erroneous placement of the notes (wrong pitch). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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