Slurs
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b. 58
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composition: Op. 28 No. 24, Prelude in D minor
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As with the previous bars, Fontana moved the slur – contrary to A – towards the beginning of the bar, as a result of which it encompasses this very bar, which was picked up by GE. In this case, it is difficult to conclude whether it was an inaccuracy or a misinterpretation of the slur of A. category imprint: Differences between sources issues: Inaccuracies in FC |
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b. 59-65
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composition: Op. 28 No. 24, Prelude in D minor
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The missing curved lines in FC (→GE) is a serious mistake of Fontana, who also overlooked in these bars the dashes marking the range of stretto and the accents in b. 64-65. category imprint: Differences between sources issues: Errors of FC |
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b. 70
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composition: Op. 28 No. 24, Prelude in D minor
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category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 73-76
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composition: Op. 28 No. 24, Prelude in D minor
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In A the range of the slur beginning in b. 74 is vague due to crossings-out. In FC Fontana considered the line that seems to prolong the slur until b. 76 to be valid. Musically speaking, it is questionable; in terms of graphics, it is questionable too, because the final fragment of that line is in the area covered by the crossings-out. The interpretation of FE is much more likely – the undeleted part of the extension of the initial slur reaches the minim in b. 75, yet that initial slur ends on the last note in b. 74. In the main text we give the literal interpretation of the notation of A, which is both pianistically and musically natural; it includes the part of the slur that was not covered by the crossings-out. category imprint: Differences between sources issues: Inaccuracies in FC |
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