Issues : Scope of dynamic hairpins
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b. 112
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composition: Op. 2, Variations, complete
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In A the arms of the mark are of different length; in this case, we regard the top, longer arm as reliable. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions |
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b. 136
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composition: Op. 2, Variations, complete
..
As in the next bar, in A the change of direction of the hairpins occurs just before the three quarters of the bar. In GE and the remaining editions, this moment occurs in the middle of the bar, contrary to the natural dynamics related to the direction of the figuration movement. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A |
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b. 180
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composition: Op. 2, Variations, complete
..
According to the editors, the sign in A (→GE1→GE2) is entered imprecisely because it includes a rest during which a crescendo cannot be started. In the main text, we give it a scope analogous to the next such sign. A similar interpretation is used in FE and EE, as well as in FESB, in which, however, the sign is reversed (diminuendo instead of crescendo). It's hard to say whether this was an intentional change or a mistake. On the contrary, in GE3 the sign was slightly extended, which was probably a revision. category imprint: Differences between sources issues: EE revisions , Scope of dynamic hairpins , GE revisions , Sign reversal , FE revisions , Revisions in FESB , |
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b. 192
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composition: Op. 2, Variations, complete
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In accordance with the widespread engraving manner, in GE and other editions the hairpin was extended to cover the entire bar. category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions |
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b. 194
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composition: Op. 2, Variations, complete
category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Scope of dynamic hairpins |
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