The change of the range of the 
hairpins must have resulted from a routine revision carried out by the engraver of FE (→GE,EE), who adjusted the marks to the rhythmic structures, i.e. an entire bar in b. 156 and half of a bar in b. 157. In A, the mark in b. 157 is noteworthy, since it clearly begins before the first notes (this bar opens a new line) and reaches only the 5th quaver in the bar, which stands in stark contrast to the mark in the previous bar, which occupies almost an entire bar. According to us, such a position of the mark may be explained by lack of space between the staves in the 2nd half of the bar and by the intention to compensate it having been excessively shortened by starting the mark earlier on the left-hand side, so that its length could be comparable to the mark. Taking into account the above, in the main text we suggest a contextual interpretation of the marks of A resulting from the above analysis.
category imprint: Differences between sources; Editorial revisions
issues: Inaccuracies in FE, Scope of dynamic hairpins
notation: Articulation, Accents, Hairpins