Partituras
Interpretaciones
Partituras y particellas
Creative Commons Attribution Non-commercial No Derivatives 3.0
S. Schwarz, 2005.
Copista
S. Schwarz
Editorial
Copenhagen: S. Schwarz, 2005.
Reimpresión
London: Merton Music, No. 4802, n.d.[1996-2010].
Observaciones varias
This file is part of the Merton-Ourtext Project.
Derechos de autor
Creative Commons Attribution Non-commercial No Derivatives 3.0
Stefano Paparozzi, 2023.
Revisor
Stefano Paparozzi (b. 1986)
Editorial
Stefano Paparozzi, 2023.
Observaciones varias
This is not a scientific critical edition, it's just an engraving made for study purpose. The main source used is the parts available on IMSLP (Copenhagen: S. Schwarz, 2005. London: Merton Music, No.4802). Minor ubiquitous incoherences bewteen parts (in dynamics and slurs, for example) have been retained. No major correction have been needed. The only issuue emerged in mv.VI, mm.194-205, where different time measures are superimposed (not clearly in parts), and in mm.206-217, where Vln.II and Cello are tacent, in spite of previous statement of the same theme (and here restored also according with the recording by Quatuor Debussy)
Creative Commons Attribution Non-commercial No Derivatives 3.0
S. Schwarz, 2005.
Copista
S. Schwarz
Editorial
Copenhagen: S. Schwarz, 2005.
Reimpresión
London: Merton Music, No. 4802, n.d.[1996-2010].
Observaciones varias
This file is part of the Merton-Ourtext Project.
Derechos de autor
Creative Commons Attribution Non-commercial No Derivatives 3.0
Stefano Paparozzi, 2023.
Revisor
Stefano Paparozzi (b. 1986)
Editorial
Stefano Paparozzi, 2023.
Observaciones varias
This is not a scientific critical edition, it's just an engraving made for study purpose. The main source used is the parts available on IMSLP (Copenhagen: S. Schwarz, 2005. London: Merton Music, No.4802). Minor ubiquitous incoherences bewteen parts (in dynamics and slurs, for example) have been retained. No major correction have been needed. The only issuue emerged in mv.VI, mm.194-205, where different time measures are superimposed (not clearly in parts), and in mm.206-217, where Vln.II and Cello are tacent, in spite of previous statement of the same theme (and here restored also according with the recording by Quatuor Debussy)