Allgemein
+{{ navbarLabels.general }}
Allgemein >{{ editionRouteConstants.PREFACE.full }} -Auswahl Skizzenkomplexe
+{{ navbarLabels.complexes }}
@for (editionComplex of DISPLAYED_EDITION_COMPLEXES; track editionComplex.complexId.short) {
diff --git a/src/app/core/navbar/navbar.component.spec.ts b/src/app/core/navbar/navbar.component.spec.ts
index 41da104b57..3f296be71c 100644
--- a/src/app/core/navbar/navbar.component.spec.ts
+++ b/src/app/core/navbar/navbar.component.spec.ts
@@ -28,7 +28,7 @@ import {
} from '@testing/expect-helper';
import { RouterLinkStubDirective } from '@testing/router-stubs';
-import { LOGOSDATA } from '@awg-core/core-data';
+import { LOGOS_DATA } from '@awg-core/core-data';
import { Logos } from '@awg-core/core-models';
import { CoreService } from '@awg-core/services';
@@ -39,21 +39,24 @@ import { EditionComplexesService } from '@awg-views/edition-view/services';
import { NavbarComponent } from './navbar.component';
/** Helper function */
-function generateExpectedOrderOfRouterlinks(editionComplexes: EditionComplex[]): string[][] {
+function getRouterlinks(editionComplexes: EditionComplex[]): string[][] {
+ const { EDITION, SERIES, ROWTABLES, PREFACE, EDITION_INTRO, EDITION_SHEETS, EDITION_REPORT } =
+ EDITION_ROUTE_CONSTANTS;
+
const baseLinks = [
['/home'],
- [EDITION_ROUTE_CONSTANTS.EDITION.route, EDITION_ROUTE_CONSTANTS.SERIES.route],
- [EDITION_ROUTE_CONSTANTS.EDITION.route, EDITION_ROUTE_CONSTANTS.ROWTABLES.route],
- [EDITION_ROUTE_CONSTANTS.EDITION.route, EDITION_ROUTE_CONSTANTS.PREFACE.route],
+ [EDITION.route, SERIES.route],
+ [EDITION.route, ROWTABLES.route],
+ [EDITION.route, PREFACE.route],
];
const editionLinks = editionComplexes.flatMap(complex => [
- [complex.baseRoute, EDITION_ROUTE_CONSTANTS.EDITION_INTRO.route],
- [complex.baseRoute, EDITION_ROUTE_CONSTANTS.EDITION_SHEETS.route],
- [complex.baseRoute, EDITION_ROUTE_CONSTANTS.EDITION_REPORT.route],
+ [complex.baseRoute, EDITION_INTRO.route],
+ [complex.baseRoute, EDITION_SHEETS.route],
+ [complex.baseRoute, EDITION_REPORT.route],
]);
- const otherLinks = [['/structure'], ['/data'], ['/contact']];
+ const otherLinks = [['/structure'], ['/contact']];
return [...baseLinks, ...editionLinks, ...otherLinks];
}
@@ -76,15 +79,14 @@ describe('NavbarComponent (DONE)', () => {
let mockRouter: Partial;
let expectedLogos: Logos;
-
- let expectedContactIcon: IconDefinition;
- let expectedEditionIcon: IconDefinition;
- let expectedHomeIcon: IconDefinition;
- let expectedSearchIcon: IconDefinition;
- let expectedStructureIcon: IconDefinition;
-
+ let expectedNavbarIcons: {
+ [key: string]: IconDefinition;
+ };
+ let expectedNavbarLabels: {
+ [key: string]: string;
+ };
let expectedEditionComplexes: EditionComplex[];
- let expectedOrderOfRouterlinks: string[][];
+ let expectedRouterlinks: string[][];
const expectedEditionRouteConstants: typeof EDITION_ROUTE_CONSTANTS = EDITION_ROUTE_CONSTANTS;
@@ -126,7 +128,7 @@ describe('NavbarComponent (DONE)', () => {
compDe = fixture.debugElement;
// Test data
- expectedLogos = LOGOSDATA;
+ expectedLogos = LOGOS_DATA;
expectedEditionComplexes = [
EditionComplexesService.getEditionComplexById('OP3'),
@@ -141,13 +143,24 @@ describe('NavbarComponent (DONE)', () => {
EditionComplexesService.getEditionComplexById('M35_42'),
EditionComplexesService.getEditionComplexById('M37'),
];
- expectedOrderOfRouterlinks = generateExpectedOrderOfRouterlinks(expectedEditionComplexes);
-
- expectedContactIcon = faEnvelope;
- expectedEditionIcon = faFileAlt;
- expectedHomeIcon = faHome;
- expectedSearchIcon = faSearch;
- expectedStructureIcon = faNetworkWired;
+ expectedRouterlinks = getRouterlinks(expectedEditionComplexes);
+
+ expectedNavbarIcons = {
+ contact: faEnvelope,
+ edition: faFileAlt,
+ home: faHome,
+ search: faSearch,
+ structure: faNetworkWired,
+ };
+ expectedNavbarLabels = {
+ home: 'Home',
+ complexes: 'Auswahl Skizzenkomplexe',
+ contact: 'Kontakt',
+ edition: 'Edition',
+ general: 'Allgemein',
+ search: 'Datenbank-Suche',
+ structure: 'Strukturmodell',
+ };
// Spies on component functions
// `.and.callThrough` will track the spy down the nested describes, see
@@ -173,16 +186,12 @@ describe('NavbarComponent (DONE)', () => {
});
describe('BEFORE initial data binding', () => {
- it('... should have fontawesome icons', () => {
- expectToEqual(component.faEnvelope, expectedContactIcon);
-
- expectToEqual(component.faFileAlt, expectedEditionIcon);
-
- expectToEqual(component.faHome, expectedHomeIcon);
-
- expectToEqual(component.faNetworkWired, expectedStructureIcon);
+ it('... should have navbar icons', () => {
+ expectToEqual(component.navbarIcons, expectedNavbarIcons);
+ });
- expectToEqual(component.faSearch, expectedSearchIcon);
+ it('... should have navbar labels', () => {
+ expectToEqual(component.navbarLabels, expectedNavbarLabels);
});
it('... should have `isCollapsed = true`', () => {
@@ -211,13 +220,13 @@ describe('NavbarComponent (DONE)', () => {
});
it('... should contain 2 navbar-brand-container with links in navbar', () => {
- const navbarDe = getAndExpectDebugElementByCss(compDe, 'nav.navbar', 1, 1);
- getAndExpectDebugElementByCss(navbarDe[0], '.navbar-brand-container > a.navbar-brand', 2, 2);
+ const navbarDes = getAndExpectDebugElementByCss(compDe, 'nav.navbar', 1, 1);
+ getAndExpectDebugElementByCss(navbarDes[0], '.navbar-brand-container > a.navbar-brand', 2, 2);
});
it('... should display first navbar-brand link not on sm devices, and second navbar-brand link only on sm devices', () => {
- const navbarDe = getAndExpectDebugElementByCss(compDe, 'nav.navbar', 1, 1);
- const navbarBrandDes = getAndExpectDebugElementByCss(navbarDe[0], '.navbar-brand-container', 2, 2);
+ const navbarDes = getAndExpectDebugElementByCss(compDe, 'nav.navbar', 1, 1);
+ const navbarBrandDes = getAndExpectDebugElementByCss(navbarDes[0], '.navbar-brand-container', 2, 2);
const navbarBrandEl1 = navbarBrandDes[0].nativeElement;
const navbarBrandEl2 = navbarBrandDes[1].nativeElement;
@@ -239,80 +248,55 @@ describe('NavbarComponent (DONE)', () => {
});
it('... should contain 1 toggle button in navbar', () => {
- const navbarDe = getAndExpectDebugElementByCss(compDe, 'nav.navbar', 1, 1);
- getAndExpectDebugElementByCss(navbarDe[0], 'button.navbar-toggler', 1, 1);
+ const navbarDes = getAndExpectDebugElementByCss(compDe, 'nav.navbar', 1, 1);
+ getAndExpectDebugElementByCss(navbarDes[0], 'button.navbar-toggler', 1, 1);
});
it('... should contain 1 navbar collapse in navbar', () => {
- const navbarDe = getAndExpectDebugElementByCss(compDe, 'nav.navbar', 1, 1);
- getAndExpectDebugElementByCss(navbarDe[0], 'div.navbar-collapse', 1, 1);
+ const navbarDes = getAndExpectDebugElementByCss(compDe, 'nav.navbar', 1, 1);
+ getAndExpectDebugElementByCss(navbarDes[0], 'div.navbar-collapse', 1, 1);
});
it('... should contain 2 ul.navbar-nav in navbar collapse', () => {
- const navbarCollapseDe = getAndExpectDebugElementByCss(compDe, 'div.navbar-collapse', 1, 1);
- getAndExpectDebugElementByCss(navbarCollapseDe[0], 'ul.navbar-nav', 2, 2);
+ const navbarCollapseDes = getAndExpectDebugElementByCss(compDe, 'div.navbar-collapse', 1, 1);
+ getAndExpectDebugElementByCss(navbarCollapseDes[0], 'ul.navbar-nav', 2, 2);
});
- it('... should contain 3 nav-items in first ul.navbar-nav, and 2 nav-items in second ul.navbar-nav', () => {
- const navbarCollapseDe = getAndExpectDebugElementByCss(compDe, 'div.navbar-collapse', 1, 1);
- const ulDe = getAndExpectDebugElementByCss(navbarCollapseDe[0], 'ul.navbar-nav', 2, 2);
+ it('... should contain 3 nav-items in first ul.navbar-nav, and 1 nav-items in second ul.navbar-nav', () => {
+ const navbarCollapseDes = getAndExpectDebugElementByCss(compDe, 'div.navbar-collapse', 1, 1);
+ const ulDes = getAndExpectDebugElementByCss(navbarCollapseDes[0], 'ul.navbar-nav', 2, 2);
- getAndExpectDebugElementByCss(ulDe[0], 'li.nav-item', 3, 3);
- getAndExpectDebugElementByCss(ulDe[1], 'li.nav-item', 2, 2);
+ getAndExpectDebugElementByCss(ulDes[0], 'li.nav-item', 3, 3);
+ getAndExpectDebugElementByCss(ulDes[1], 'li.nav-item', 1, 1);
});
- it('... should have `awg-app` label and fa-icon on first nav-item link', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const navItemLinkSpanDe = getAndExpectDebugElementByCss(navItemDe[0], 'a.nav-link > span', 2, 2);
- const navItemLinkSpanEl1 = navItemLinkSpanDe[0].nativeElement;
- const navItemLinkSpanEl2 = navItemLinkSpanDe[1].nativeElement;
-
- expectToBe(navItemLinkSpanEl1.textContent, 'awg-app');
+ it('... should have fa-icon on first nav-item link', () => {
+ const navItemDes = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 4, 4);
+ const navItemLinkSpanDes = getAndExpectDebugElementByCss(navItemDes[0], 'a.nav-link > span', 2, 2);
+ const navItemLinkSpanEl2 = navItemLinkSpanDes[1].nativeElement;
expectToBe(navItemLinkSpanEl2.textContent, '(current)');
expectToContain(navItemLinkSpanEl2.classList, 'sr-only');
- getAndExpectDebugElementByCss(navItemDe[0], 'a.nav-link > fa-icon', 1, 1);
- });
-
- it('... should have `Edition` label and fa-icon on second nav-item link', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const navItemLinkSpanDe = getAndExpectDebugElementByCss(navItemDe[1], 'a.nav-link > span', 1, 1);
- const navItemLinkSpanEl = navItemLinkSpanDe[0].nativeElement;
-
- expectToBe(navItemLinkSpanEl.textContent, 'Edition');
-
- getAndExpectDebugElementByCss(navItemDe[1], 'a.nav-link > fa-icon', 1, 1);
+ getAndExpectDebugElementByCss(navItemDes[0], 'a.nav-link > fa-icon', 1, 1);
});
- it('... should have `Strukturmodell` label and fa-icon on third nav-item link', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const navItemLinkSpanDe = getAndExpectDebugElementByCss(navItemDe[2], 'a.nav-link > span', 1, 1);
- const navItemLinkSpanEl = navItemLinkSpanDe[0].nativeElement;
-
- expectToBe(navItemLinkSpanEl.textContent, 'Strukturmodell');
+ it('... should have fa-icon on second nav-item link', () => {
+ const navItemDes = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 4, 4);
- getAndExpectDebugElementByCss(navItemDe[2], 'a.nav-link > fa-icon', 1, 1);
+ getAndExpectDebugElementByCss(navItemDes[1], 'a.nav-link > fa-icon', 1, 1);
});
- it('... should have `Suche` label and fa-icon on fourth nav-item link', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const navItemLinkSpanDe = getAndExpectDebugElementByCss(navItemDe[3], 'a.nav-link > span', 1, 1);
- const navItemLinkSpanEl = navItemLinkSpanDe[0].nativeElement;
+ it('... should have fa-icon on third nav-item link', () => {
+ const navItemDes = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 4, 4);
- expectToBe(navItemLinkSpanEl.textContent, 'Suche');
-
- getAndExpectDebugElementByCss(navItemDe[3], 'a.nav-link > fa-icon', 1, 1);
+ getAndExpectDebugElementByCss(navItemDes[2], 'a.nav-link > fa-icon', 1, 1);
});
- it('... should have `Kontakt` label and fa-icon on fifth nav-item link', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const navItemLinkSpanDe = getAndExpectDebugElementByCss(navItemDe[4], 'a.nav-link > span', 1, 1);
- const navItemLinkSpanEl = navItemLinkSpanDe[0].nativeElement;
-
- expectToBe(navItemLinkSpanEl.textContent, 'Kontakt');
+ it('... should have fa-icon on fourth nav-item link', () => {
+ const navItemDes = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 4, 4);
- getAndExpectDebugElementByCss(navItemDe[4], 'a.nav-link > fa-icon', 1, 1);
+ getAndExpectDebugElementByCss(navItemDes[3], 'a.nav-link > fa-icon', 1, 1);
});
});
@@ -387,6 +371,12 @@ describe('NavbarComponent (DONE)', () => {
});
describe('VIEW', () => {
+ let navItemDes: DebugElement[];
+
+ beforeEach(() => {
+ navItemDes = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 4, 4);
+ });
+
it('... should render awg project url in navbar-brand link', () => {
const urlDes = getAndExpectDebugElementByCss(compDe, 'a.navbar-brand', 2, 2);
const urlEl1 = urlDes[0].nativeElement;
@@ -396,97 +386,93 @@ describe('NavbarComponent (DONE)', () => {
expectToBe(urlEl2.href, expectedLogos['awg'].href);
});
- it('... should display home icon in first nav-item link ', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const faIconDe = getAndExpectDebugElementByCss(navItemDe[0], 'a.nav-link > fa-icon', 1, 1);
- const faIconIns = faIconDe[0].componentInstance.icon;
-
- expectToEqual(faIconIns, expectedHomeIcon);
- });
+ describe('... first nav-item link (home)', () => {
+ it('... should have home label and fa-icon', () => {
+ const navItemLinkSpanDes = getAndExpectDebugElementByCss(navItemDes[0], 'a.nav-link > span', 2, 2);
+ const navItemLinkSpanEl1 = navItemLinkSpanDes[0].nativeElement;
+ const navItemLinkSpanEl2 = navItemLinkSpanDes[1].nativeElement;
- it('... should display edition icon in second nav-item link ', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const faIconDe = getAndExpectDebugElementByCss(navItemDe[1], 'a.nav-link > fa-icon', 1, 1);
- const faIconIns = faIconDe[0].componentInstance.icon;
+ expectToBe(navItemLinkSpanEl1.textContent, expectedNavbarLabels['home']);
- expectToEqual(faIconIns, expectedEditionIcon);
- });
-
- it('... should display structure icon in third nav-item link ', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const faIconDe = getAndExpectDebugElementByCss(navItemDe[2], 'a.nav-link > fa-icon', 1, 1);
- const faIconIns = faIconDe[0].componentInstance.icon;
-
- expectToEqual(faIconIns, expectedStructureIcon);
- });
+ expectToBe(navItemLinkSpanEl2.textContent, '(current)');
+ expectToContain(navItemLinkSpanEl2.classList, 'sr-only');
- it('... should display search icon in fourth nav-item link ', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const faIconDe = getAndExpectDebugElementByCss(navItemDe[3], 'a.nav-link > fa-icon', 1, 1);
- const faIconIns = faIconDe[0].componentInstance.icon;
-
- expectToEqual(faIconIns, expectedSearchIcon);
- });
+ getAndExpectDebugElementByCss(navItemDes[0], 'a.nav-link > fa-icon', 1, 1);
+ });
- it('... should display contact icon in fifth nav-item link ', () => {
- const navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- const faIconDe = getAndExpectDebugElementByCss(navItemDe[4], 'a.nav-link > fa-icon', 1, 1);
- const faIconIns = faIconDe[0].componentInstance.icon;
+ it('... should display home icon', () => {
+ const faIconDes = getAndExpectDebugElementByCss(navItemDes[0], 'a.nav-link > fa-icon', 1, 1);
+ const faIconIns = faIconDes[0].componentInstance.icon;
- expectToEqual(faIconIns, expectedContactIcon);
+ expectToEqual(faIconIns, expectedNavbarIcons['home']);
+ });
});
describe('... second nav-item link (edition)', () => {
- let navItemDe: DebugElement[];
- let navItemLinkDe: DebugElement[];
+ let navItemLinkDes: DebugElement[];
beforeEach(fakeAsync(() => {
- navItemDe = getAndExpectDebugElementByCss(compDe, 'li.nav-item', 5, 5);
- navItemLinkDe = getAndExpectDebugElementByCss(navItemDe[1], 'a.nav-link', 1, 1);
+ navItemLinkDes = getAndExpectDebugElementByCss(navItemDes[1], 'a.nav-link', 1, 1);
// Click on second nav-item link
- clickAndAwaitChanges(navItemLinkDe[0], fixture);
+ clickAndAwaitChanges(navItemLinkDes[0], fixture);
}));
+ it('... should have edition label and fa-icon', () => {
+ const navItemLinkSpanDes = getAndExpectDebugElementByCss(navItemDes[1], 'a.nav-link > span', 1, 1);
+ const navItemLinkSpanEl = navItemLinkSpanDes[0].nativeElement;
+
+ expectToBe(navItemLinkSpanEl.textContent, expectedNavbarLabels['edition']);
+
+ getAndExpectDebugElementByCss(navItemDes[1], 'a.nav-link > fa-icon', 1, 1);
+ });
+
+ it('... should display edition icon', () => {
+ const faIconDes = getAndExpectDebugElementByCss(navItemDes[1], 'a.nav-link > fa-icon', 1, 1);
+ const faIconIns = faIconDes[0].componentInstance.icon;
+
+ expectToEqual(faIconIns, expectedNavbarIcons['edition']);
+ });
+
it('... should have a dropdown menu', () => {
- getAndExpectDebugElementByCss(navItemDe[1], 'div.dropdown-menu', 1, 1);
+ getAndExpectDebugElementByCss(navItemDes[1], 'div.dropdown-menu', 1, 1);
});
it('... should have a dropdown header `Allgemein` as first child', () => {
- const headerDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const headerDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > h6.dropdown-header:nth-child(1)',
1,
1
);
- const headerEl = headerDe[0].nativeElement;
+ const headerEl = headerDes[0].nativeElement;
- expectToBe(headerEl.textContent, 'Allgemein');
+ expectToBe(headerEl.textContent, expectedNavbarLabels['general']);
});
it('... should be followed by 3 dropdown items for edition overview, rowtables and preface', () => {
- const overviewDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const overviewDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > a.dropdown-item:nth-child(2)',
1,
1
);
- const rowtablesDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const rowtablesDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > a.dropdown-item:nth-child(3)',
1,
1
);
- const prefaceDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const prefaceDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > a.dropdown-item:nth-child(4)',
1,
1
);
- const overviewEl = overviewDe[0].nativeElement;
- const rowtablesEl = rowtablesDe[0].nativeElement;
- const prefaceEl = prefaceDe[0].nativeElement;
+ const overviewEl = overviewDes[0].nativeElement;
+ const rowtablesEl = rowtablesDes[0].nativeElement;
+ const prefaceEl = prefaceDes[0].nativeElement;
expectToBe(overviewEl.textContent, EDITION_ROUTE_CONSTANTS.SERIES.full);
expectToBe(rowtablesEl.textContent, EDITION_ROUTE_CONSTANTS.ROWTABLES.full);
@@ -495,32 +481,32 @@ describe('NavbarComponent (DONE)', () => {
it('... should have another dropdown header `Auswahl Skizzenkomplexe` surrounded by dividers', () => {
getAndExpectDebugElementByCss(
- navItemDe[1],
+ navItemDes[1],
'div.dropdown-menu > div.dropdown-divider:nth-child(5)',
1,
1
);
- const headerDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const headerDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > h6.dropdown-header:nth-child(6)',
1,
1
);
- const headerEl = headerDe[0].nativeElement;
+ const headerEl = headerDes[0].nativeElement;
getAndExpectDebugElementByCss(
- navItemDe[1],
+ navItemDes[1],
'div.dropdown-menu > div.dropdown-divider:nth-child(7)',
1,
1
);
- expectToBe(headerEl.textContent, 'Auswahl Skizzenkomplexe');
+ expectToBe(headerEl.textContent, expectedNavbarLabels['complexes']);
});
it('... should be followed by as many `div.awg-dropdown-complexes` as edition complexes are available', () => {
- const divDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const divDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > div.awg-dropdown-complexes',
expectedEditionComplexes.length,
expectedEditionComplexes.length
@@ -528,34 +514,34 @@ describe('NavbarComponent (DONE)', () => {
});
it('... should display a header and a list of 3 dropdown items for each dropdown complex', () => {
- const divDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const complexDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > div.awg-dropdown-complexes',
expectedEditionComplexes.length,
expectedEditionComplexes.length
);
// Expect header and 3 dropdown items for each dropdown complex
- divDe.forEach(complexDe => {
+ complexDes.forEach(complexDe => {
getAndExpectDebugElementByCss(complexDe, 'h6.dropdown-header', 1, 1);
getAndExpectDebugElementByCss(complexDe, 'a.dropdown-item', 3, 3);
});
});
it('... should display correct header for each dropdown complex', () => {
- const divDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const complexDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > div.awg-dropdown-complexes',
expectedEditionComplexes.length,
expectedEditionComplexes.length
);
- divDe.forEach((complexDe, index) => {
- const headerDe = getAndExpectDebugElementByCss(complexDe, 'h6.dropdown-header', 1, 1);
- const headerEl = headerDe[0].nativeElement;
+ complexDes.forEach((complexDe, index) => {
+ const headerDes = getAndExpectDebugElementByCss(complexDe, 'h6.dropdown-header', 1, 1);
+ const headerEl = headerDes[0].nativeElement;
- const headerSpanDe = getAndExpectDebugElementByCss(headerDe[0], 'span', 1, 1);
- const headerSpanEl = headerSpanDe[0].nativeElement;
+ const headerSpanDes = getAndExpectDebugElementByCss(headerDes[0], 'span', 1, 1);
+ const headerSpanEl = headerSpanDes[0].nativeElement;
const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
const series = expectedEditionComplexes[index].pubStatement.series.short;
@@ -570,26 +556,62 @@ describe('NavbarComponent (DONE)', () => {
});
it('... should display correct dropdown item labels for each dropdown complex', () => {
- const divDe = getAndExpectDebugElementByCss(
- navItemDe[1],
+ const complexDes = getAndExpectDebugElementByCss(
+ navItemDes[1],
'div.dropdown-menu > div.awg-dropdown-complexes',
expectedEditionComplexes.length,
expectedEditionComplexes.length
);
// Expect header and 3 dropdown items for each dropdown complex
- divDe.forEach((complexDe, index) => {
- const itemsDe = getAndExpectDebugElementByCss(complexDe, 'a.dropdown-item', 3, 3);
- const itemsEl1 = itemsDe[0].nativeElement;
- const itemsEl2 = itemsDe[1].nativeElement;
- const itemsEl3 = itemsDe[2].nativeElement;
-
- expectToBe(itemsEl1.textContent, 'Einleitung');
- expectToBe(itemsEl2.textContent, 'Edierte Notentexte');
- expectToBe(itemsEl3.textContent, 'Kritischer Bericht');
+ complexDes.forEach((complexDe, index) => {
+ const itemsDes = getAndExpectDebugElementByCss(complexDe, 'a.dropdown-item', 3, 3);
+ const itemsEl1 = itemsDes[0].nativeElement;
+ const itemsEl2 = itemsDes[1].nativeElement;
+ const itemsEl3 = itemsDes[2].nativeElement;
+
+ expectToBe(itemsEl1.textContent, EDITION_ROUTE_CONSTANTS.EDITION_INTRO.full);
+ expectToBe(itemsEl2.textContent, EDITION_ROUTE_CONSTANTS.EDITION_SHEETS.full);
+ expectToBe(itemsEl3.textContent, EDITION_ROUTE_CONSTANTS.EDITION_REPORT.full);
});
});
});
+
+ describe('... third nav-item link (structure)', () => {
+ it('... should have structure label and fa-icon', () => {
+ const navItemLinkSpanDes = getAndExpectDebugElementByCss(navItemDes[2], 'a.nav-link > span', 1, 1);
+ const navItemLinkSpanEl = navItemLinkSpanDes[0].nativeElement;
+
+ expectToBe(navItemLinkSpanEl.textContent, expectedNavbarLabels['structure']);
+
+ getAndExpectDebugElementByCss(navItemDes[2], 'a.nav-link > fa-icon', 1, 1);
+ });
+
+ it('... should display structure icon', () => {
+ const faIconDes = getAndExpectDebugElementByCss(navItemDes[2], 'a.nav-link > fa-icon', 1, 1);
+ const faIconIns = faIconDes[0].componentInstance.icon;
+
+ expectToEqual(faIconIns, expectedNavbarIcons['structure']);
+ });
+ });
+
+ describe('... fourth nav-item link (contact)', () => {
+ it('... should have contact label and fa-icon', () => {
+ const navItemLinkSpanDes = getAndExpectDebugElementByCss(navItemDes[3], 'a.nav-link > span', 1, 1);
+ const navItemLinkSpanEl = navItemLinkSpanDes[0].nativeElement;
+
+ expectToBe(navItemLinkSpanEl.textContent, expectedNavbarLabels['contact']);
+
+ getAndExpectDebugElementByCss(navItemDes[3], 'a.nav-link > fa-icon', 1, 1);
+ });
+
+ it('... should display contact icon', () => {
+ const faIconDes = getAndExpectDebugElementByCss(navItemDes[3], 'a.nav-link > fa-icon', 1, 1);
+ const faIconIns = faIconDes[0].componentInstance.icon;
+
+ expectToEqual(faIconIns, expectedNavbarIcons['contact']);
+ });
+ });
});
describe('#isActiveRoute()', () => {
@@ -632,8 +654,8 @@ describe('NavbarComponent (DONE)', () => {
linkDes = getAndExpectDebugElementByDirective(
compDe,
RouterLinkStubDirective,
- expectedOrderOfRouterlinks.length,
- expectedOrderOfRouterlinks.length
+ expectedRouterlinks.length,
+ expectedRouterlinks.length
);
// Get attached link directive instances using each DebugElement's injector
@@ -641,19 +663,19 @@ describe('NavbarComponent (DONE)', () => {
});
it('... can get correct numer of routerLinks from template', () => {
- expectToBe(routerLinks.length, expectedOrderOfRouterlinks.length);
+ expectToBe(routerLinks.length, expectedRouterlinks.length);
});
it('... can get correct linkParams from template', () => {
routerLinks.forEach((routerLink, index) => {
- expectToEqual(routerLink.linkParams, expectedOrderOfRouterlinks[index]);
+ expectToEqual(routerLink.linkParams, expectedRouterlinks[index]);
});
});
it('... can click all links in template', () => {
routerLinks.forEach((routerLink, index) => {
const linkDe = linkDes[index];
- const expectedRouterLink = expectedOrderOfRouterlinks[index];
+ const expectedRouterLink = expectedRouterlinks[index];
expectToBe(routerLink.navigatedTo, null);
diff --git a/src/app/core/navbar/navbar.component.ts b/src/app/core/navbar/navbar.component.ts
index 81f6351c78..1673849de7 100644
--- a/src/app/core/navbar/navbar.component.ts
+++ b/src/app/core/navbar/navbar.component.ts
@@ -22,53 +22,46 @@ import { EditionComplexesService } from '@awg-views/edition-view/services';
})
export class NavbarComponent implements OnInit {
/**
- * Public variable: faEnvelope.
- *
- * It instantiates fontawesome's faEnvelope icon.
- */
- faEnvelope = faEnvelope;
-
- /**
- * Public variable: faFileAlt.
- *
- * It instantiates fontawesome's faFileAlt icon.
- */
- faFileAlt = faFileAlt;
-
- /**
- * Public variable: faHome.
- *
- * It instantiates fontawesome's faHome icon.
- */
- faHome = faHome;
-
- /**
- * Public variable: faNetworkWired.
+ * Public variable: isCollapsed.
*
- * It instantiates fontawesome's faNetworkWired icon.
+ * It keeps the boolean value if the header menu is collapsed or not.
*/
- faNetworkWired = faNetworkWired;
+ isCollapsed = true;
/**
- * Public variable: faSearch.
+ * Public variable: logos.
*
- * It instantiates fontawesome's faSearch icon.
+ * It keeps the logos for the footer.
*/
- faSearch = faSearch;
+ logos: Logos;
/**
- * Public variable: isCollapsed.
+ * Public variable: navbarIcons.
*
- * It keeps the boolean value if the header menu is collapsed or not.
+ * It keeps the fontawesome icons for the navbar.
*/
- isCollapsed = true;
+ navbarIcons = {
+ contact: faEnvelope,
+ edition: faFileAlt,
+ home: faHome,
+ structure: faNetworkWired,
+ search: faSearch,
+ };
/**
- * Public variable: logos.
+ * Public variable: navbarLabels.
*
- * It keeps the logos for the footer.
+ * It keeps the labels for the navbar.
*/
- logos: Logos;
+ navbarLabels = {
+ home: 'Home',
+ complexes: 'Auswahl Skizzenkomplexe',
+ contact: 'Kontakt',
+ edition: 'Edition',
+ general: 'Allgemein',
+ search: 'Datenbank-Suche',
+ structure: 'Strukturmodell',
+ };
/**
* Readonly variable: DISPLAYED_EDITION_COMPLEXES.
diff --git a/src/app/core/services/core-service/core.service.spec.ts b/src/app/core/services/core-service/core.service.spec.ts
index 0b81d1bb39..fd9af6a0a8 100644
--- a/src/app/core/services/core-service/core.service.spec.ts
+++ b/src/app/core/services/core-service/core.service.spec.ts
@@ -3,7 +3,7 @@ import { TestBed } from '@angular/core/testing';
import { cleanStylesFromDOM } from '@testing/clean-up-helper';
import { expectToEqual } from '@testing/expect-helper';
-import { LOGOSDATA, METADATA } from '@awg-core/core-data';
+import { LOGOS_DATA, META_DATA } from '@awg-core/core-data';
import { Logos, Meta, MetaSectionTypes } from '@awg-core/core-models';
import { CoreService } from './core.service';
@@ -22,8 +22,8 @@ describe('CoreService (DONE)', () => {
coreService = TestBed.inject(CoreService);
// Test data
- expectedMetaData = METADATA;
- expectedLogosData = LOGOSDATA;
+ expectedMetaData = META_DATA;
+ expectedLogosData = LOGOS_DATA;
});
afterAll(() => {
@@ -39,7 +39,7 @@ describe('CoreService (DONE)', () => {
expect(coreService.getMetaData).toBeDefined();
});
- it('... should return METADATA', () => {
+ it('... should return META_DATA', () => {
// Call service function
expectToEqual(coreService.getMetaData(), expectedMetaData);
});
@@ -50,7 +50,7 @@ describe('CoreService (DONE)', () => {
expect(coreService.getMetaDataSection).toBeDefined();
});
- it('... should return page METADATA if parameter is given', () => {
+ it('... should return page META_DATA if parameter is given', () => {
const pageMetaSection = MetaSectionTypes.page;
const actualMetaData = coreService.getMetaDataSection(pageMetaSection);
@@ -58,7 +58,7 @@ describe('CoreService (DONE)', () => {
expectToEqual(actualMetaData, expectedMetaData[pageMetaSection]);
});
- it('... should return structure METADATA if parameter is given', () => {
+ it('... should return structure META_DATA if parameter is given', () => {
const structureMetaSection = MetaSectionTypes.structure;
const actualMetaData = coreService.getMetaDataSection(structureMetaSection);
@@ -66,7 +66,7 @@ describe('CoreService (DONE)', () => {
expectToEqual(actualMetaData, expectedMetaData[structureMetaSection]);
});
- it('... should return contact METADATA if parameter is given', () => {
+ it('... should return contact META_DATA if parameter is given', () => {
const contactMetaSection = MetaSectionTypes.contact;
const actualMetaData = coreService.getMetaDataSection(contactMetaSection);
diff --git a/src/app/core/services/core-service/core.service.ts b/src/app/core/services/core-service/core.service.ts
index b4c85fd529..b9577d6248 100644
--- a/src/app/core/services/core-service/core.service.ts
+++ b/src/app/core/services/core-service/core.service.ts
@@ -1,6 +1,6 @@
import { Injectable } from '@angular/core';
-import { LOGOSDATA, METADATA } from '@awg-core/core-data';
+import { LOGOS_DATA, META_DATA } from '@awg-core/core-data';
import { Logos, Meta, MetaSectionTypes } from '@awg-core/core-models';
/**
@@ -24,7 +24,7 @@ export class CoreService {
* @returns {Meta[S]} The sectionType S of the metadata object.
*/
getMetaDataSection(sectionType: S): Meta[S] {
- return METADATA[sectionType];
+ return META_DATA[sectionType];
}
/**
@@ -35,7 +35,7 @@ export class CoreService {
* @returns {Meta} The complete metadata object.
*/
getMetaData(): Meta {
- return METADATA;
+ return META_DATA;
}
/**
@@ -46,6 +46,6 @@ export class CoreService {
* @returns {Logos} The app-wide logos object.
*/
getLogos(): Logos {
- return LOGOSDATA;
+ return LOGOS_DATA;
}
}
diff --git a/src/app/core/services/edition-init-service/edition-init.service.spec.ts b/src/app/core/services/edition-init-service/edition-init.service.spec.ts
index ab24a010cd..2751556fc0 100644
--- a/src/app/core/services/edition-init-service/edition-init.service.spec.ts
+++ b/src/app/core/services/edition-init-service/edition-init.service.spec.ts
@@ -6,8 +6,8 @@ import Spy = jasmine.Spy;
import { cleanStylesFromDOM } from '@testing/clean-up-helper';
import { expectSpyCall, expectToEqual } from '@testing/expect-helper';
-import { EDITION_ROUTE_CONSTANTS } from '@awg-app/views/edition-view/edition-route-constants';
-import { EditionComplexesService, EditionOutlineService } from '@awg-app/views/edition-view/services';
+import { EDITION_ROUTE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
+import { EditionComplexesService, EditionOutlineService } from '@awg-views/edition-view/services';
import { EditionInitService } from './edition-init.service';
diff --git a/src/app/core/view-container/view-container.component.html b/src/app/core/view-container/view-container.component.html
index 90ac157f54..0ab6feab2f 100644
--- a/src/app/core/view-container/view-container.component.html
+++ b/src/app/core/view-container/view-container.component.html
@@ -1,11 +1,15 @@
-
-
+
+
;
let compDe: DebugElement;
+ let expectedActivateSideOutlet: boolean;
+
beforeEach(waitForAsync(() => {
TestBed.configureTestingModule({
declarations: [ViewContainerComponent, RouterLinkStubDirective, RouterOutletStubComponent],
@@ -22,6 +29,9 @@ describe('ViewContainerComponent (DONE)', () => {
fixture = TestBed.createComponent(ViewContainerComponent);
component = fixture.componentInstance;
compDe = fixture.debugElement;
+
+ // Test data
+ expectedActivateSideOutlet = true;
});
afterAll(() => {
@@ -33,30 +43,152 @@ describe('ViewContainerComponent (DONE)', () => {
});
describe('BEFORE initial data binding', () => {
+ it('... should not have `activateSideOutlet`', () => {
+ expect(component.activateSideOutlet).toBeUndefined();
+ });
+
describe('VIEW', () => {
- it('... should contain two child divs in `div.row` in `div.container-fluid`', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.container-fluid > div.row > div', 2, 2);
+ it('... should contain one `div.container-fluid`', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.container-fluid', 1, 1);
+ });
+
+ it('... should contain one `div.row` in `div.container-fluid`', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.container-fluid > div.row', 1, 1);
+ });
+
+ it('... should not have class `justify-content-center` on `div.row`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.container-fluid > div.row', 1, 1);
+ const divEl = divDes[0].nativeElement;
+
+ expect(divEl.classList).not.toContain('justify-content-center');
+ });
+
+ it('... should contain one child div (maincontent) in `div.row`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.container-fluid > div.row > div', 1, 1);
const divEl0 = divDes[0].nativeElement;
- const divEl1 = divDes[1].nativeElement;
expect(divEl0).toHaveClass('awg-maincontent');
- expect(divEl1).toHaveClass('awg-sidenav');
});
- it('... should contain two router outlets (stubbed)', () => {
- getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 2, 2);
+ it('... should contain one router outlet (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 1, 1);
});
- it('... should contain only one named router outlet (stubbed)', () => {
- const routletDes = getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 2, 2);
+ it('... should contain only unnamed router outlet (stubbed)', () => {
+ const routletDes = getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 1, 1);
// Main outlet should not be named
expect(routletDes[0].attributes).toBeDefined();
expect(routletDes[0].attributes['name']).toBeUndefined();
+ });
+ });
+ });
+
+ describe('AFTER initial data binding', () => {
+ beforeEach(() => {
+ // Simulate the parent component setting the input
+ component.activateSideOutlet = expectedActivateSideOutlet;
+
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ describe('VIEW', () => {
+ describe('... with `showSideOutlet=true`', () => {
+ it('... should not have class `justify-content-center` on `div.row`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.container-fluid > div.row', 1, 1);
+ const divEl = divDes[0].nativeElement;
+
+ expect(divEl.classList).not.toContain('justify-content-center');
+ });
+
+ it('... should contain two child divs in `div.row`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.container-fluid > div.row > div', 2, 2);
+ const divEl0 = divDes[0].nativeElement;
+ const divEl1 = divDes[1].nativeElement;
+
+ expect(divEl0).toHaveClass('awg-maincontent');
+ expect(divEl1).toHaveClass('awg-side-outlet');
+ });
+
+ it('... should have correct grid classes on `div.awg-maincontent`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-maincontent', 1, 1);
+ const divEl = divDes[0].nativeElement;
+
+ expectToContain(divEl.classList, 'col-md-8');
+ expectToContain(divEl.classList, 'col-xl-9');
+ expect(divEl.classList).not.toContain('col-md-10');
+ });
+
+ it('... should have correct grid classes on `div.awg-side-outlet`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-side-outlet', 1, 1);
+ const divEl = divDes[0].nativeElement;
+
+ expectToContain(divEl.classList, 'col-md-4');
+ expectToContain(divEl.classList, 'col-xl-3');
+ expectToContain(divEl.classList, 'order-first');
+ });
+
+ it('... should contain two router outlets (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 2, 2);
+ });
+
+ it('... should contain only one named router outlet (stubbed)', () => {
+ const routletDes = getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 2, 2);
+
+ // Main outlet should not be named
+ expect(routletDes[0].attributes).toBeDefined();
+ expect(routletDes[0].attributes['name']).toBeUndefined();
+
+ // Secondary outlet should be named 'side'
+ expect(routletDes[1].attributes).toBeDefined();
+ expectToBe(routletDes[1].attributes['name'], 'side');
+ });
+ });
+
+ describe('... with `showSideOutlet=false`', () => {
+ beforeEach(() => {
+ // Simulate the parent component setting the input
+ component.activateSideOutlet = false;
+
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ it('... should have class `justify-content-center` on `div.row`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.container-fluid > div.row', 1, 1);
+ const divEl = divDes[0].nativeElement;
+
+ expectToContain(divEl.classList, 'justify-content-center');
+ });
+
+ it('... should contain one child div in `div.row`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.container-fluid > div.row > div', 1, 1);
+ const divEl0 = divDes[0].nativeElement;
+
+ expect(divEl0).toHaveClass('awg-maincontent');
+ });
+
+ it('... should have correct grid classes on `div.awg-maincontent`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-maincontent', 1, 1);
+ const divEl = divDes[0].nativeElement;
+
+ expectToContain(divEl.classList, 'col-md-10');
+ expect(divEl.classList).not.toContain('col-md-8');
+ expect(divEl.classList).not.toContain('col-xl-9');
+ });
+
+ it('... should contain one router outlet (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 1, 1);
+ });
+
+ it('... should contain only unnamed router outlet (stubbed)', () => {
+ const routletDes = getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 1, 1);
- // Secondary outlet should be named 'side'
- expect(routletDes[1].attributes).toBeDefined();
- expectToBe(routletDes[1].attributes['name'], 'side');
+ // Main outlet should not be named
+ expect(routletDes[0].attributes).toBeDefined();
+ expect(routletDes[0].attributes['name']).toBeUndefined();
+ });
});
});
});
diff --git a/src/app/core/view-container/view-container.component.ts b/src/app/core/view-container/view-container.component.ts
index d5d7e974ed..0552521a87 100644
--- a/src/app/core/view-container/view-container.component.ts
+++ b/src/app/core/view-container/view-container.component.ts
@@ -1,4 +1,4 @@
-import { Component } from '@angular/core';
+import { ChangeDetectionStrategy, Component, Input } from '@angular/core';
/**
* The ViewContainer component.
@@ -12,5 +12,13 @@ import { Component } from '@angular/core';
selector: 'awg-view-container',
templateUrl: './view-container.component.html',
styleUrls: ['./view-container.component.scss'],
+ changeDetection: ChangeDetectionStrategy.Default,
})
-export class ViewContainerComponent {}
+export class ViewContainerComponent {
+ /**
+ * Input variable: activateSideOutlet.
+ *
+ * It keeps track of the side outlet.
+ */
+ @Input() activateSideOutlet: boolean;
+}
diff --git a/src/app/shared/abbr/abbr.directive.spec.ts b/src/app/shared/abbr/abbr.directive.spec.ts
new file mode 100644
index 0000000000..e3945b0974
--- /dev/null
+++ b/src/app/shared/abbr/abbr.directive.spec.ts
@@ -0,0 +1,112 @@
+import { Component, DebugElement } from '@angular/core';
+import { ComponentFixture, TestBed } from '@angular/core/testing';
+
+import { cleanStylesFromDOM } from '@testing/clean-up-helper';
+import { expectToContain, getAndExpectDebugElementByCss } from '@testing/expect-helper';
+
+import { AbbrDirective } from './abbr.directive';
+
+// Test abbr component
+@Component({
+ template: ``,
+})
+class TestAbbrComponent {
+ text = 'This is a test with Klav. and Klav. o. and Ges. It is located in CH-Bps.';
+}
+
+describe('AbbrDirective (DONE)', () => {
+ let fixture: ComponentFixture;
+ let component: TestAbbrComponent;
+ let compDe: DebugElement;
+
+ let expectedAbbreviations: Map;
+
+ beforeEach(() => {
+ TestBed.configureTestingModule({
+ declarations: [TestAbbrComponent, AbbrDirective],
+ });
+
+ fixture = TestBed.createComponent(TestAbbrComponent);
+ component = fixture.componentInstance;
+ compDe = fixture.debugElement;
+
+ // Test data
+ expectedAbbreviations = new Map([
+ // General
+ ['Bl.', 'Blatt (r - recto, v - verso)'],
+ ['S.', 'Seite'],
+ ['T.', 'Takt'],
+ // Instrumentations
+ ['Ges.', 'Gesang'],
+ ['Klav. o.', 'Klavier oben'],
+ ['Klav. u.', 'Klavier unten'],
+ ['Klav.', 'Klavier'],
+ // RISM-IDs
+ ['A-Was', 'Arnold Schönberg Center, Wien'],
+ ['A-Wn', 'Österreichische Nationalbibliothek, Musiksammlung, Wien'],
+ ['A-Wst', 'Wienbibliothek im Rathaus, Musiksammlung, Wien'],
+ ['A-Wue', 'Universal Edition, Historisches Archiv, Wien'],
+ ['CH-Bps', 'Paul Sacher Stiftung, Basel'],
+ ['CH-END', 'Dokumentationsbibliothek Walter Labhart, Endingen'],
+ ['GB-Lbl', 'The Britisch Library, London'],
+ ['US-NH', 'Yale University, Irving S. Gilmore Music Library, New Haven, CT'],
+ ['US-NYpm', 'The Morgan Library & Museum, New York City, NY'],
+ ['US-Wc', 'The Library of Congress, Music Division, Washington, D.C.'],
+ ]);
+ });
+
+ afterAll(() => {
+ cleanStylesFromDOM();
+ });
+
+ it('... should replace abbreviations with elements', () => {
+ fixture.detectChanges(); // Trigger initial data binding
+
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p', 1, 1);
+ const pEl = pDes[0].nativeElement;
+
+ expectToContain(pEl.innerHTML, 'Klav.');
+ expectToContain(pEl.innerHTML, 'Klav. o.');
+ expectToContain(pEl.innerHTML, 'Ges.');
+ expectToContain(pEl.innerHTML, 'CH-Bps');
+ });
+
+ it('... should replace all given abbreviations with elements', () => {
+ component.text = Array.from(expectedAbbreviations.keys()).join(' ');
+ fixture.detectChanges(); // Trigger initial data binding
+
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p', 1, 1);
+ const pEl = pDes[0].nativeElement;
+
+ getAndExpectDebugElementByCss(pDes[0], `abbr`, expectedAbbreviations.size, expectedAbbreviations.size);
+
+ for (const [abbr, full] of expectedAbbreviations.entries()) {
+ // HTML escape special characters
+ const fullEscaped = full.replace(/&/g, '&');
+
+ expectToContain(pEl.innerHTML, `${abbr}`);
+ }
+ });
+
+ it('... should not replace parts of words', () => {
+ component.text = 'This is a test with Klaviert and Klav. o. and Ges.';
+ fixture.detectChanges(); // Trigger data binding
+
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p', 1, 1);
+ const pEl = pDes[0].nativeElement;
+
+ expect(pEl.innerHTML).not.toContain('Klaviert');
+ expect(pEl.innerHTML).toContain('Klav. o.');
+ expect(pEl.innerHTML).toContain('Ges.');
+ });
+
+ it('... should handle empty text', () => {
+ component.text = '';
+ fixture.detectChanges(); // Trigger data binding
+
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p', 1, 1);
+ const pEl = pDes[0].nativeElement;
+
+ expect(pEl.innerHTML).toBe('');
+ });
+});
diff --git a/src/app/shared/abbr/abbr.directive.ts b/src/app/shared/abbr/abbr.directive.ts
new file mode 100644
index 0000000000..517cd5c459
--- /dev/null
+++ b/src/app/shared/abbr/abbr.directive.ts
@@ -0,0 +1,93 @@
+import { Directive, ElementRef, Input, OnInit } from '@angular/core';
+
+/**
+ * The abbr directive.
+ *
+ * It is used to create an abbreviation element.
+ */
+@Directive({
+ selector: '[awgAbbr]',
+})
+export class AbbrDirective implements OnInit {
+ /**
+ * Input variable: text.
+ *
+ * It keeps the text value with a possible abbreviation.
+ */
+ @Input('awgAbbr') text: string;
+
+ /**
+ * Private variable: _abbreviations.
+ *
+ * It keeps a list of abbreviations and their full forms.
+ */
+ private _abbreviations = new Map([
+ // General
+ ['Bl.', 'Blatt (r - recto, v - verso)'],
+ ['S.', 'Seite'],
+ ['T.', 'Takt'],
+ // Instrumentations
+ ['Ges.', 'Gesang'],
+ ['Klav. o.', 'Klavier oben'],
+ ['Klav. u.', 'Klavier unten'],
+ ['Klav.', 'Klavier'],
+ // RISM-IDs
+ ['A-Was', 'Arnold Schönberg Center, Wien'],
+ ['A-Wn', 'Österreichische Nationalbibliothek, Musiksammlung, Wien'],
+ ['A-Wst', 'Wienbibliothek im Rathaus, Musiksammlung, Wien'],
+ ['A-Wue', 'Universal Edition, Historisches Archiv, Wien'],
+ ['CH-Bps', 'Paul Sacher Stiftung, Basel'],
+ ['CH-END', 'Dokumentationsbibliothek Walter Labhart, Endingen'],
+ ['GB-Lbl', 'The Britisch Library, London'],
+ ['US-NH', 'Yale University, Irving S. Gilmore Music Library, New Haven, CT'],
+ ['US-NYpm', 'The Morgan Library & Museum, New York City, NY'],
+ ['US-Wc', 'The Library of Congress, Music Division, Washington, D.C.'],
+ ]);
+
+ /**
+ * Constructor of the AbbrDirective.
+ *
+ * It declares a private instance of ElementRef.
+ *
+ * @param {ElementRef} el Instance of ElementRef.
+ */
+ constructor(private el: ElementRef) {}
+
+ /**
+ * Angular life cycle hook: ngOnInit.
+ *
+ * It calls the containing methods
+ * when initializing the directive.
+ */
+ ngOnInit(): void {
+ this._replaceAbbreviations();
+ }
+
+ /**
+ * Private method: _replaceAbbreviations.
+ *
+ * It replaces abbreviations in the text with abbreviation elements
+ * containing the full form as title.
+ *
+ * @returns {void} Replaces abbreviations in the text.
+ */
+ private _replaceAbbreviations(): void {
+ let innerHTML = this.text;
+
+ if (!innerHTML) {
+ return;
+ }
+
+ // Construct a single regular expression to match any abbreviation
+ const abbreviationsPattern = Array.from(this._abbreviations.keys()).join('|');
+ const regex = new RegExp(`(? elements
+ innerHTML = innerHTML.replace(regex, match => {
+ const full = this._abbreviations.get(match);
+ return `${match}`;
+ });
+
+ this.el.nativeElement.innerHTML = innerHTML;
+ }
+}
diff --git a/src/app/shared/address/address.component.spec.ts b/src/app/shared/address/address.component.spec.ts
index f80c155951..6674eb2e41 100644
--- a/src/app/shared/address/address.component.spec.ts
+++ b/src/app/shared/address/address.component.spec.ts
@@ -4,7 +4,7 @@ import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
import { cleanStylesFromDOM } from '@testing/clean-up-helper';
import { expectToBe, getAndExpectDebugElementByCss } from '@testing/expect-helper';
-import { METADATA } from '@awg-core/core-data';
+import { META_DATA } from '@awg-core/core-data';
import { MetaContact, MetaPage, MetaSectionTypes } from '@awg-core/core-models';
import { AddressComponent } from './address.component';
@@ -29,8 +29,8 @@ describe('AddressComponent (DONE)', () => {
compDe = fixture.debugElement;
// Test data
- expectedPageMetaData = METADATA[MetaSectionTypes.page];
- expectedContactMetaData = METADATA[MetaSectionTypes.contact];
+ expectedPageMetaData = META_DATA[MetaSectionTypes.page];
+ expectedContactMetaData = META_DATA[MetaSectionTypes.contact];
});
afterAll(() => {
diff --git a/src/app/shared/error-alert/error-alert.component.html b/src/app/shared/alert-error/alert-error.component.html
similarity index 100%
rename from src/app/shared/error-alert/error-alert.component.html
rename to src/app/shared/alert-error/alert-error.component.html
diff --git a/src/app/shared/error-alert/error-alert.component.scss b/src/app/shared/alert-error/alert-error.component.scss
similarity index 100%
rename from src/app/shared/error-alert/error-alert.component.scss
rename to src/app/shared/alert-error/alert-error.component.scss
diff --git a/src/app/shared/error-alert/error-alert.component.spec.ts b/src/app/shared/alert-error/alert-error.component.spec.ts
similarity index 76%
rename from src/app/shared/error-alert/error-alert.component.spec.ts
rename to src/app/shared/alert-error/alert-error.component.spec.ts
index 8268c9f272..f9e6da3474 100644
--- a/src/app/shared/error-alert/error-alert.component.spec.ts
+++ b/src/app/shared/alert-error/alert-error.component.spec.ts
@@ -4,11 +4,11 @@ import { ComponentFixture, TestBed } from '@angular/core/testing';
import { expectToBe, expectToContain, getAndExpectDebugElementByCss } from '@testing/expect-helper';
-import { ErrorAlertComponent } from './error-alert.component';
+import { AlertErrorComponent } from './alert-error.component';
-describe('ErrorAlertComponent', () => {
- let component: ErrorAlertComponent;
- let fixture: ComponentFixture;
+describe('AlertErrorComponent', () => {
+ let component: AlertErrorComponent;
+ let fixture: ComponentFixture;
let compDe: DebugElement;
let expectedErrorObject: any;
@@ -17,10 +17,10 @@ describe('ErrorAlertComponent', () => {
beforeEach(async () => {
await TestBed.configureTestingModule({
- declarations: [ErrorAlertComponent],
+ declarations: [AlertErrorComponent],
}).compileComponents();
- fixture = TestBed.createComponent(ErrorAlertComponent);
+ fixture = TestBed.createComponent(AlertErrorComponent);
component = fixture.componentInstance;
compDe = fixture.debugElement;
@@ -38,17 +38,17 @@ describe('ErrorAlertComponent', () => {
});
describe('VIEW', () => {
- it('... should have an outer div.awg-error-message', () => {
+ it('... should have an outer `div.awg-error-message`', () => {
getAndExpectDebugElementByCss(compDe, 'div.awg-error-message', 1, 1);
});
- it('... should have a centered danger alert in div.awg-error-message', () => {
+ it('... should have a centered danger alert in `div.awg-error-message`', () => {
const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-error-message ', 1, 1);
getAndExpectDebugElementByCss(divDes[0], 'div.text-center > div.alert-danger', 1, 1);
});
- it('... should not display an error message in div.alert yet', () => {
+ it('... should not display an error message in `div.alert-danger` yet', () => {
const alertDes = getAndExpectDebugElementByCss(compDe, 'div.alert-danger', 1, 1);
const alertEl = alertDes[0].nativeElement;
@@ -66,7 +66,7 @@ describe('ErrorAlertComponent', () => {
});
describe('VIEW', () => {
- it('... should display an error message in div.alert', () => {
+ it('... should display an error message in `div.alert-danger`', () => {
const alertDes = getAndExpectDebugElementByCss(compDe, 'div.alert-danger', 1, 1);
const alertEl = alertDes[0].nativeElement;
diff --git a/src/app/shared/alert-error/alert-error.component.ts b/src/app/shared/alert-error/alert-error.component.ts
new file mode 100644
index 0000000000..f80b535490
--- /dev/null
+++ b/src/app/shared/alert-error/alert-error.component.ts
@@ -0,0 +1,23 @@
+import { ChangeDetectionStrategy, Component, Input } from '@angular/core';
+
+/**
+ * The AlertErrorComponent.
+ *
+ * It contains an error alert message that is
+ * provided via the {@link SharedModule}.
+ */
+@Component({
+ selector: 'awg-alert-error',
+ templateUrl: './alert-error.component.html',
+ styleUrl: './alert-error.component.scss',
+ changeDetection: ChangeDetectionStrategy.OnPush,
+})
+export class AlertErrorComponent {
+ /**
+ * Input variable: errorObject.
+ *
+ * It keeps the error object for the component.
+ */
+ @Input()
+ errorObject: any;
+}
diff --git a/src/app/shared/alert-info/alert-info.component.html b/src/app/shared/alert-info/alert-info.component.html
new file mode 100644
index 0000000000..f2c8ac3230
--- /dev/null
+++ b/src/app/shared/alert-info/alert-info.component.html
@@ -0,0 +1,5 @@
+
+
+
+
diff --git a/src/app/views/edition-view/edition-complex-card/edition-complex-card.component.scss b/src/app/shared/alert-info/alert-info.component.scss
similarity index 100%
rename from src/app/views/edition-view/edition-complex-card/edition-complex-card.component.scss
rename to src/app/shared/alert-info/alert-info.component.scss
diff --git a/src/app/shared/alert-info/alert-info.component.spec.ts b/src/app/shared/alert-info/alert-info.component.spec.ts
new file mode 100644
index 0000000000..1ab63d79af
--- /dev/null
+++ b/src/app/shared/alert-info/alert-info.component.spec.ts
@@ -0,0 +1,119 @@
+import { DebugElement, NgModule } from '@angular/core';
+import { ComponentFixture, TestBed } from '@angular/core/testing';
+
+import { FontAwesomeTestingModule } from '@fortawesome/angular-fontawesome/testing';
+import { faCircleInfo, IconDefinition } from '@fortawesome/free-solid-svg-icons';
+import { NgbAlert, NgbAlertModule, NgbConfig } from '@ng-bootstrap/ng-bootstrap';
+
+import {
+ expectToBe,
+ expectToContain,
+ expectToEqual,
+ getAndExpectDebugElementByCss,
+ getAndExpectDebugElementByDirective,
+} from '@testing/expect-helper';
+
+import { AlertInfoComponent } from './alert-info.component';
+
+describe('AlertInfoComponent (DONE)', () => {
+ let component: AlertInfoComponent;
+ let fixture: ComponentFixture;
+ let compDe: DebugElement;
+
+ let expectedInfoMessage: string;
+ let expectedFaCircleInfo: IconDefinition;
+
+ // Global NgbConfigModule
+ @NgModule({ imports: [NgbAlertModule], exports: [NgbAlertModule] })
+ class NgbAnimationConfigModule {
+ constructor(config: NgbConfig) {
+ // Set animations to false
+ config.animation = false;
+ }
+ }
+
+ beforeEach(async () => {
+ await TestBed.configureTestingModule({
+ imports: [FontAwesomeTestingModule, NgbAnimationConfigModule],
+ declarations: [AlertInfoComponent],
+ }).compileComponents();
+
+ fixture = TestBed.createComponent(AlertInfoComponent);
+ component = fixture.componentInstance;
+ compDe = fixture.debugElement;
+
+ // Test data
+ expectedFaCircleInfo = faCircleInfo;
+ expectedInfoMessage = 'This is an info message.';
+ });
+
+ it('should create', () => {
+ expect(component).toBeTruthy();
+ });
+
+ describe('BEFORE initial data binding', () => {
+ it('... should not have `infoMessage`', () => {
+ expect(component.infoMessage).toBeUndefined();
+ });
+
+ it('... should have `faCircleInfo`', () => {
+ expectToEqual(component.faCircleInfo, expectedFaCircleInfo);
+ });
+
+ it('... should have `isOpen` set to true', () => {
+ expect(component.isOpen).toBe(true);
+ });
+
+ it('... should have `type` set to `info`', () => {
+ expect(component.type).toBe('info');
+ });
+
+ describe('VIEW', () => {
+ it('... should not have a ngbAlert component yet', () => {
+ getAndExpectDebugElementByDirective(compDe, NgbAlert, 0, 0);
+ });
+ });
+ });
+
+ describe('AFTER initial data binding', () => {
+ beforeEach(() => {
+ component.infoMessage = expectedInfoMessage;
+
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ describe('VIEW', () => {
+ it('... should have one ngbAlert component', () => {
+ getAndExpectDebugElementByDirective(compDe, NgbAlert, 1, 1);
+ });
+
+ it('... should have a centered, muted, small paragraph in ngbAlert component', () => {
+ const alertDes = getAndExpectDebugElementByDirective(compDe, NgbAlert, 1, 1);
+ const pDes = getAndExpectDebugElementByCss(alertDes[0], 'p', 1, 1);
+ const pEl = pDes[0].nativeElement;
+
+ expectToBe(pEl.classList.contains('small'), true);
+ expectToBe(pEl.classList.contains('text-muted'), true);
+ expectToBe(pEl.classList.contains('text-center'), true);
+ });
+
+ it('... should display circle info icon in alert paragraph', () => {
+ const alertDes = getAndExpectDebugElementByDirective(compDe, NgbAlert, 1, 1);
+ const pDes = getAndExpectDebugElementByCss(alertDes[0], 'p', 1, 1);
+ const faIconDes = getAndExpectDebugElementByCss(pDes[0], 'fa-icon', 1, 1);
+ const faIconIns = faIconDes[0].componentInstance.icon;
+
+ expectToEqual(faIconIns, expectedFaCircleInfo);
+ });
+
+ it('... should display an error message in alert paragraph', () => {
+ const alertDes = getAndExpectDebugElementByDirective(compDe, NgbAlert, 1, 1);
+ const pDes = getAndExpectDebugElementByCss(alertDes[0], 'p', 1, 1);
+ const pEl = pDes[0].nativeElement;
+
+ expectToContain(pEl.textContent.trim(), expectedInfoMessage);
+ });
+ });
+ });
+});
diff --git a/src/app/shared/alert-info/alert-info.component.ts b/src/app/shared/alert-info/alert-info.component.ts
new file mode 100644
index 0000000000..ebc435dcbb
--- /dev/null
+++ b/src/app/shared/alert-info/alert-info.component.ts
@@ -0,0 +1,46 @@
+import { ChangeDetectionStrategy, Component, Input } from '@angular/core';
+
+import { faCircleInfo } from '@fortawesome/free-solid-svg-icons';
+
+/**
+ * The AlertInfoComponent.
+ *
+ * It contains an info alert message that is
+ * provided via the {@link SharedModule}.
+ */
+@Component({
+ selector: 'awg-alert-info',
+ templateUrl: './alert-info.component.html',
+ styleUrls: ['./alert-info.component.scss'],
+ changeDetection: ChangeDetectionStrategy.OnPush,
+})
+export class AlertInfoComponent {
+ /**
+ * Input variable: infoMessage.
+ *
+ * It keeps the info message for the component.
+ */
+ @Input()
+ infoMessage: string;
+
+ /**
+ * Public variable: faCircleInfo.
+ *
+ * It instantiates fontawesome's faCircleInfo icon.
+ */
+ faCircleInfo = faCircleInfo;
+
+ /**
+ * Input variable: isOpen.
+ *
+ * It keeps the open state for the component.
+ */
+ isOpen = true;
+
+ /**
+ * Public variable: type.
+ *
+ * It keeps the type for the component.
+ */
+ type = 'info';
+}
diff --git a/src/app/shared/error-alert/error-alert.component.ts b/src/app/shared/error-alert/error-alert.component.ts
deleted file mode 100644
index ad74ea9bda..0000000000
--- a/src/app/shared/error-alert/error-alert.component.ts
+++ /dev/null
@@ -1,22 +0,0 @@
-import { Component, Input } from '@angular/core';
-
-/**
- * The ErrorAlertComponent.
- *
- * It contains an error alert message that is
- * provided via the {@link SharedModule}.
- */
-@Component({
- selector: 'awg-error-alert',
- templateUrl: './error-alert.component.html',
- styleUrl: './error-alert.component.scss',
-})
-export class ErrorAlertComponent {
- /**
- * Input variable: errorObject.
- *
- * It keeps the error object for the component.
- */
- @Input()
- errorObject: any;
-}
diff --git a/src/app/shared/external-link/external-link.directive.spec.ts b/src/app/shared/external-link/external-link.directive.spec.ts
index 2a7483351f..b77722cec3 100644
--- a/src/app/shared/external-link/external-link.directive.spec.ts
+++ b/src/app/shared/external-link/external-link.directive.spec.ts
@@ -7,6 +7,7 @@ import { cleanStylesFromDOM } from '@testing/clean-up-helper';
import { expectToBe } from '@testing/expect-helper';
import { ExternalLinkDirective } from './external-link.directive';
+// Test external link component
@Component({
template: `Link External
diff --git a/src/app/shared/json-viewer/json-viewer.component.spec.ts b/src/app/shared/json-viewer/json-viewer.component.spec.ts
index 972e0578c1..ecbda16057 100644
--- a/src/app/shared/json-viewer/json-viewer.component.spec.ts
+++ b/src/app/shared/json-viewer/json-viewer.component.spec.ts
@@ -210,7 +210,7 @@ describe('JsonViewerComponent (DONE)', () => {
});
it('... should pass down `jsonViewerData` to ngx-json-viewer component in Formatted view', () => {
- const viewerDes = getAndExpectDebugElementByDirective(compDe, NgxJsonViewerStubComponent, 1, 0);
+ const viewerDes = getAndExpectDebugElementByDirective(compDe, NgxJsonViewerStubComponent, 1, 1);
const viewerCmp = viewerDes[0].injector.get(NgxJsonViewerStubComponent) as NgxJsonViewerStubComponent;
expectToEqual(viewerCmp.json, expectedData);
diff --git a/src/app/shared/language-switcher/language-switcher.component.html b/src/app/shared/language-switcher/language-switcher.component.html
new file mode 100644
index 0000000000..2efd06978a
--- /dev/null
+++ b/src/app/shared/language-switcher/language-switcher.component.html
@@ -0,0 +1,5 @@
+
diff --git a/src/app/shared/language-switcher/language-switcher.component.scss b/src/app/shared/language-switcher/language-switcher.component.scss
new file mode 100644
index 0000000000..7ae7958331
--- /dev/null
+++ b/src/app/shared/language-switcher/language-switcher.component.scss
@@ -0,0 +1,25 @@
+@import '/src/assets/themes/scss/shared';
+
+.awg-language-switcher {
+ font-family: 'Montserrat', sans-serif;
+ font-size: small;
+ text-align: end;
+
+ a {
+ cursor: pointer;
+ text-decoration: none;
+ color: inherit;
+ // disable the active link style
+ &.active,
+ &.active:hover {
+ cursor: default;
+ color: inherit;
+ }
+ &:not(.active) {
+ color: $link-color;
+ }
+ &:hover {
+ border-bottom: none !important;
+ }
+ }
+}
diff --git a/src/app/shared/language-switcher/language-switcher.component.spec.ts b/src/app/shared/language-switcher/language-switcher.component.spec.ts
new file mode 100644
index 0000000000..1190d8aa99
--- /dev/null
+++ b/src/app/shared/language-switcher/language-switcher.component.spec.ts
@@ -0,0 +1,194 @@
+import { DebugElement } from '@angular/core';
+import { ComponentFixture, fakeAsync, TestBed } from '@angular/core/testing';
+import Spy = jasmine.Spy;
+
+import { clickAndAwaitChanges } from '@testing/click-helper';
+import { expectSpyCall, expectToBe, expectToContain, getAndExpectDebugElementByCss } from '@testing/expect-helper';
+
+import { detectChangesOnPush } from '@testing/detect-changes-on-push-helper';
+import { LanguageSwitcherComponent } from './language-switcher.component';
+
+describe('LanguageSwitcherComponent (DONE)', () => {
+ let component: LanguageSwitcherComponent;
+ let fixture: ComponentFixture;
+ let compDe: DebugElement;
+
+ let setLanguageSpy: Spy;
+ let emitLanguageChangeRequestSpy: Spy;
+
+ let expectedLanguage: number;
+
+ beforeEach(async () => {
+ await TestBed.configureTestingModule({
+ declarations: [LanguageSwitcherComponent],
+ }).compileComponents();
+
+ fixture = TestBed.createComponent(LanguageSwitcherComponent);
+ component = fixture.componentInstance;
+ compDe = fixture.debugElement;
+
+ // Test data
+ expectedLanguage = 0;
+
+ // Spies on component functions
+ // `.and.callThrough` will track the spy down the nested describes, see
+ // https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
+ setLanguageSpy = spyOn(component, 'setLanguage').and.callThrough();
+ emitLanguageChangeRequestSpy = spyOn(component.languageChangeRequest, 'emit').and.callThrough();
+ });
+
+ it('should create', () => {
+ expect(component).toBeTruthy();
+ });
+
+ describe('BEFORE initial data binding', () => {
+ it('... should not have `currentLanguage`', () => {
+ expect(component.currentLanguage).toBeUndefined();
+ });
+
+ describe('VIEW', () => {
+ it('... should contain 1 language-switcher paragraph', () => {
+ getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
+ });
+
+ it('... should contain 2 language-switcher anchor elements (DE | EN)', () => {
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
+ const pEl = pDes[0].nativeElement;
+
+ expectToBe(pEl.textContent, 'DE | EN');
+
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+ const aEl1 = aDes[0].nativeElement;
+ const aEl2 = aDes[1].nativeElement;
+
+ expectToBe(aEl1.textContent, 'DE');
+ expectToBe(aEl2.textContent, 'EN');
+ });
+ });
+ });
+
+ describe('AFTER initial data binding', () => {
+ beforeEach(() => {
+ // Simulate the parent setting the input properties
+ component.currentLanguage = expectedLanguage;
+
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ it('... should have `currentLanguage` = 0', () => {
+ expectToBe(component.currentLanguage, 0);
+ });
+
+ describe('VIEW', () => {
+ it('... should trigger `setLanguage` method on anchor click', fakeAsync(() => {
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+
+ // Trigger click with click helper & wait for changes
+ clickAndAwaitChanges(aDes[0], fixture);
+
+ expectSpyCall(setLanguageSpy, 1);
+
+ // Trigger click with click helper & wait for changes
+ clickAndAwaitChanges(aDes[1], fixture);
+
+ expectSpyCall(setLanguageSpy, 2);
+ }));
+
+ it('... should trigger setLanguage method with 0 when clicking on first anchor', fakeAsync(() => {
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+
+ // Click on first anchor
+ clickAndAwaitChanges(aDes[0], fixture);
+
+ expectSpyCall(setLanguageSpy, 1, 0);
+ }));
+
+ it('... should trigger setLanguage method with 1 when clicking on second anchor', fakeAsync(() => {
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+
+ // Click on second anchor
+ clickAndAwaitChanges(aDes[1], fixture);
+
+ expectSpyCall(setLanguageSpy, 1, 1);
+ }));
+
+ it('... should have .active class on first anchor element when currentLanguage is 0', () => {
+ component.currentLanguage = 0;
+ detectChangesOnPush(fixture);
+
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+
+ const aEl0 = aDes[0].nativeElement;
+ const aEl1 = aDes[1].nativeElement;
+
+ expectToContain(aEl0.classList, 'active');
+ expect(aEl1.classList).not.toContain('active');
+ });
+
+ it('... should have .active class on second anchor element when currentLanguage is 1', () => {
+ component.currentLanguage = 1;
+ detectChangesOnPush(fixture);
+
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+
+ const aEl0 = aDes[0].nativeElement;
+ const aEl1 = aDes[1].nativeElement;
+
+ expect(aEl0.classList).not.toContain('active');
+ expectToContain(aEl1.classList, 'active');
+ });
+ });
+
+ describe('#setLanguage()', () => {
+ it('... should have a method `setLanguage`', () => {
+ expect(component.setLanguage).toBeDefined();
+ });
+
+ it('... should trigger on click', fakeAsync(() => {
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+
+ // Trigger click with click helper & wait for changes
+ clickAndAwaitChanges(aDes[0], fixture);
+
+ expectSpyCall(setLanguageSpy, 1);
+
+ // Trigger click with click helper & wait for changes
+ clickAndAwaitChanges(aDes[1], fixture);
+
+ expectSpyCall(setLanguageSpy, 2);
+ }));
+
+ it('... should emit 0 when called with 0', () => {
+ component.setLanguage(0);
+
+ expectSpyCall(setLanguageSpy, 1);
+ expectSpyCall(emitLanguageChangeRequestSpy, 1, 0);
+ });
+
+ it('... should emit 1 when called with 1', () => {
+ component.setLanguage(1);
+
+ expectSpyCall(setLanguageSpy, 1);
+ expectSpyCall(emitLanguageChangeRequestSpy, 1, 1);
+ });
+
+ it('... should not emit when called with any other number than 0 or 1', () => {
+ const invalidLanguageNumbers = [-987654321, -2, -1, 2, 3, 987654321];
+
+ invalidLanguageNumbers.forEach((languageNumber, index) => {
+ component.setLanguage(languageNumber);
+
+ expectSpyCall(setLanguageSpy, index + 1);
+ expectSpyCall(emitLanguageChangeRequestSpy, 0);
+ });
+ });
+ });
+ });
+});
diff --git a/src/app/shared/language-switcher/language-switcher.component.ts b/src/app/shared/language-switcher/language-switcher.component.ts
new file mode 100644
index 0000000000..e89d9c3a90
--- /dev/null
+++ b/src/app/shared/language-switcher/language-switcher.component.ts
@@ -0,0 +1,43 @@
+import { ChangeDetectionStrategy, Component, EventEmitter, Input, Output } from '@angular/core';
+
+/**
+ * The LanguageSwitcher component.
+ *
+ * It contains the language switcher of the app.
+ */
+@Component({
+ selector: 'awg-language-switcher',
+ templateUrl: './language-switcher.component.html',
+ styleUrls: ['./language-switcher.component.scss'],
+ changeDetection: ChangeDetectionStrategy.OnPush,
+})
+export class LanguageSwitcherComponent {
+ /**
+ * Input variable: currentLanguage.
+ *
+ * It keeps the current language: 0 for German, 1 for English.
+ */
+ @Input()
+ currentLanguage: number;
+
+ /**
+ * Output variable: languageChangeRequest.
+ *
+ * It emits the current language.
+ */
+ @Output() languageChangeRequest = new EventEmitter();
+
+ /**
+ * Public method: setLanguage.
+ *
+ * It emits the current language.
+ *
+ * @param {number} language The given language number.
+ * @returns {void} Emits the current language.
+ */
+ setLanguage(language: number): void {
+ if (language === 0 || language === 1) {
+ this.languageChangeRequest.emit(language);
+ }
+ }
+}
diff --git a/src/app/shared/shared-ngbootstrap.module.ts b/src/app/shared/shared-ngbootstrap.module.ts
index cc4a22fea9..e2057e314d 100644
--- a/src/app/shared/shared-ngbootstrap.module.ts
+++ b/src/app/shared/shared-ngbootstrap.module.ts
@@ -1,11 +1,13 @@
import { NgModule } from '@angular/core';
import {
NgbAccordionModule,
+ NgbAlertModule,
NgbCollapseModule,
NgbDropdownModule,
NgbModalModule,
NgbNavModule,
NgbPaginationModule,
+ NgbPopoverModule,
NgbToastModule,
NgbTooltipModule,
NgbTypeaheadModule,
@@ -14,22 +16,26 @@ import {
@NgModule({
imports: [
NgbAccordionModule,
+ NgbAlertModule,
NgbCollapseModule,
NgbDropdownModule,
NgbModalModule,
NgbNavModule,
NgbPaginationModule,
+ NgbPopoverModule,
NgbToastModule,
NgbTooltipModule,
NgbTypeaheadModule,
],
exports: [
NgbAccordionModule,
+ NgbAlertModule,
NgbCollapseModule,
NgbDropdownModule,
NgbModalModule,
NgbNavModule,
NgbPaginationModule,
+ NgbPopoverModule,
NgbToastModule,
NgbTooltipModule,
NgbTypeaheadModule,
diff --git a/src/app/shared/shared.module.ts b/src/app/shared/shared.module.ts
index 3691fa79cb..821771fa4b 100644
--- a/src/app/shared/shared.module.ts
+++ b/src/app/shared/shared.module.ts
@@ -15,9 +15,11 @@ import { CompileHtmlModule } from './compile-html';
//
// Shared components
import { AddressComponent } from './address/address.component';
-import { ErrorAlertComponent } from './error-alert/error-alert.component';
+import { AlertErrorComponent } from './alert-error/alert-error.component';
+import { AlertInfoComponent } from './alert-info/alert-info.component';
import { HeadingComponent } from './heading/heading.component';
import { JsonViewerComponent } from './json-viewer/json-viewer.component';
+import { LanguageSwitcherComponent } from './language-switcher/language-switcher.component';
import { LicenseComponent } from './license/license.component';
import { ModalComponent } from './modal/modal.component';
import { OpenStreetMapComponent } from './open-street-map/open-street-map.component';
@@ -31,6 +33,7 @@ import { ViewHandleButtonGroupComponent } from './view-handle-button-group/view-
//
// Shared directives
+import { AbbrDirective } from './abbr/abbr.directive';
import { ExternalLinkDirective } from './external-link/external-link.directive';
//
@@ -57,9 +60,11 @@ import { OrderByPipe } from './order-by-pipe/order-by.pipe';
],
declarations: [
AddressComponent,
- ErrorAlertComponent,
+ AlertErrorComponent,
+ AlertInfoComponent,
HeadingComponent,
JsonViewerComponent,
+ LanguageSwitcherComponent,
LicenseComponent,
ModalComponent,
OpenStreetMapComponent,
@@ -70,6 +75,7 @@ import { OrderByPipe } from './order-by-pipe/order-by.pipe';
ToastComponent,
TwelveToneSpinnerComponent,
ViewHandleButtonGroupComponent,
+ AbbrDirective,
ExternalLinkDirective,
OrderByPipe,
],
@@ -86,9 +92,11 @@ import { OrderByPipe } from './order-by-pipe/order-by.pipe';
SharedNgbootstrapModule,
AddressComponent,
- ErrorAlertComponent,
+ AlertErrorComponent,
+ AlertInfoComponent,
HeadingComponent,
JsonViewerComponent,
+ LanguageSwitcherComponent,
LicenseComponent,
ModalComponent,
OpenStreetMapComponent,
@@ -98,6 +106,7 @@ import { OrderByPipe } from './order-by-pipe/order-by.pipe';
ToastComponent,
TwelveToneSpinnerComponent,
ViewHandleButtonGroupComponent,
+ AbbrDirective,
ExternalLinkDirective,
OrderByPipe,
],
diff --git a/src/app/side-info/contact-info/contact-info.component.spec.ts b/src/app/side-info/contact-info/contact-info.component.spec.ts
index d23acc937d..d0c1f98b43 100644
--- a/src/app/side-info/contact-info/contact-info.component.spec.ts
+++ b/src/app/side-info/contact-info/contact-info.component.spec.ts
@@ -14,7 +14,7 @@ import {
} from '@testing/expect-helper';
import { AppConfig } from '@awg-app/app.config';
-import { METADATA } from '@awg-core/core-data';
+import { META_DATA } from '@awg-core/core-data';
import { MetaContact, MetaPage, MetaSectionTypes } from '@awg-core/core-models';
import { CoreService } from '@awg-core/services';
@@ -61,7 +61,7 @@ describe('ContactInfoComponent (DONE)', () => {
beforeEach(waitForAsync(() => {
// Mock service for test purposes
- mockCoreService = { getMetaDataSection: sectionType => METADATA[sectionType] };
+ mockCoreService = { getMetaDataSection: sectionType => META_DATA[sectionType] };
TestBed.configureTestingModule({
imports: [BrowserModule],
@@ -78,8 +78,8 @@ describe('ContactInfoComponent (DONE)', () => {
domSanitizer = TestBed.inject(DomSanitizer);
// Test data
- expectedPageMetaData = METADATA[MetaSectionTypes.page];
- expectedContactMetaData = METADATA[MetaSectionTypes.contact];
+ expectedPageMetaData = META_DATA[MetaSectionTypes.page];
+ expectedContactMetaData = META_DATA[MetaSectionTypes.contact];
// Link values for open streets map
expectedUnsafeOsmEmbedUrl = AppConfig.UNSAFE_OSM_EMBED_URL;
diff --git a/src/app/side-info/edition-info/edition-info.component.html b/src/app/side-info/edition-info/edition-info.component.html
index dd4650c25f..7c9c33d3f9 100644
--- a/src/app/side-info/edition-info/edition-info.component.html
+++ b/src/app/side-info/edition-info/edition-info.component.html
@@ -4,6 +4,7 @@
{{ editionInfoHeader }}
◇
+
@@ -13,120 +14,114 @@ {{ editionInfoHeader }}
{{ editionRouteConstants.SERIES.full }}{{
+ editionRouteConstants.SERIES.full
+ }}
{{ editionRouteConstants.ROWTABLES.full }}{{
+ editionRouteConstants.ROWTABLES.full
+ }}
{{ editionRouteConstants.PREFACE.full }}{{
+ editionRouteConstants.PREFACE.full
+ }}
- @for (
- editionComplex of DISPLAYED_EDITION_COMPLEXES | slice: 0 : SLICE_INDEX;
- track editionComplex.complexId.short
- ) {
-
-
-
- ({{ editionTypeConstants.SKETCH_EDITION.full }}
- @if (editionComplex.complexId.route.includes('op25')) {
- &
+
+ @for (section of DISPLAYED_SECTIONS; track $index) {
+
+
+
+
+
+
+
+ @if (!section.content.intro.disabled) {
+
{{ editionRouteConstants.EDITION_GRAPH.short }}
+ >
+
+ }
+
+ @if (combineComplexes(section).length > 0) {
+ @for (
+ editionComplex of combineComplexes(section);
+ track editionComplex.complex.complexId.short
+ ) {
+
+
+
+
+
+
+ @if (editionComplex.disabled) {
+
+
}
- )
-
- }
-
+ }
+
+
-
-
-
-
-
-
-
-
- @for (
- editionComplex of DISPLAYED_EDITION_COMPLEXES
- | slice: SLICE_INDEX : DISPLAYED_EDITION_COMPLEXES.length;
- track editionComplex.complexId.short
- ) {
-
-
-
- ({{ editionTypeConstants.SKETCH_EDITION.full }}
- )
-
- }
-
-
-
-
+ }
diff --git a/src/app/side-info/edition-info/edition-info.component.spec.ts b/src/app/side-info/edition-info/edition-info.component.spec.ts
index 59b1330701..09200f4e06 100644
--- a/src/app/side-info/edition-info/edition-info.component.spec.ts
+++ b/src/app/side-info/edition-info/edition-info.component.spec.ts
@@ -2,12 +2,16 @@
import { DebugElement, NgModule } from '@angular/core';
import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
+import { Observable, of as observableOf } from 'rxjs';
+import Spy = jasmine.Spy;
+
import { NgbAccordionDirective, NgbAccordionModule, NgbConfig } from '@ng-bootstrap/ng-bootstrap';
import { cleanStylesFromDOM } from '@testing/clean-up-helper';
import { click } from '@testing/click-helper';
import { detectChangesOnPush } from '@testing/detect-changes-on-push-helper';
import {
+ expectSpyCall,
expectToBe,
expectToContain,
expectToEqual,
@@ -16,42 +20,83 @@ import {
} from '@testing/expect-helper';
import { RouterLinkStubDirective } from 'testing/router-stubs';
-import { EDITION_ROUTE_CONSTANTS, EDITION_TYPE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
-import { EditionComplex } from '@awg-views/edition-view/models';
-import { EditionComplexesService } from '@awg-views/edition-view/services';
+import { EDITION_ROUTE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
+import { EditionComplex, EditionOutlineSection } from '@awg-views/edition-view/models';
+import { EditionComplexesService, EditionOutlineService, EditionStateService } from '@awg-views/edition-view/services';
+import { DOCUMENT } from '@angular/common';
import { EditionInfoComponent } from './edition-info.component';
/** Helper functions */
-function generateExpectedOrderOfRouterlinks(editionComplexes: EditionComplex[]): string[][] {
- const editionOverviewLink = [[EDITION_ROUTE_CONSTANTS.EDITION.route, EDITION_ROUTE_CONSTANTS.SERIES.route]];
- const rowTablesLink = [[EDITION_ROUTE_CONSTANTS.EDITION.route, EDITION_ROUTE_CONSTANTS.ROWTABLES.route]];
- const prefaceLink = [[EDITION_ROUTE_CONSTANTS.EDITION.route, EDITION_ROUTE_CONSTANTS.PREFACE.route]];
-
- const editionLinks = editionComplexes.flatMap(complex => {
- const routes = [[complex.baseRoute, EDITION_ROUTE_CONSTANTS.EDITION_SHEETS.route]];
- if (complex === EditionComplexesService.getEditionComplexById('OP25')) {
- routes.push([complex.baseRoute, EDITION_ROUTE_CONSTANTS.EDITION_GRAPH.route]);
+function getComplexesFromSections(
+ sections: EditionOutlineSection[],
+ includeDisabled: boolean = true
+): EditionComplex[] {
+ return sections.flatMap(section => {
+ if (section?.content?.complexTypes) {
+ let complexes = [...section.content.complexTypes.opus, ...section.content.complexTypes.mnr];
+ if (!includeDisabled) {
+ complexes = complexes.filter(complex => !complex.disabled);
+ }
+ return complexes.map(complex => complex.complex);
+ }
+ return [];
+ });
+}
+
+function getExpectedRouterlinks(sections: EditionOutlineSection[]): string[][] {
+ const {
+ EDITION,
+ SERIES,
+ ROWTABLES,
+ PREFACE,
+ SERIES_1,
+ SECTION,
+ SECTION_5,
+ EDITION_INTRO,
+ EDITION_SHEETS,
+ EDITION_GRAPH,
+ } = EDITION_ROUTE_CONSTANTS;
+
+ const editionOverviewLink = [[EDITION.route, SERIES.route]];
+ const rowTablesLink = [[EDITION.route, ROWTABLES.route]];
+ const prefaceLink = [[EDITION.route, PREFACE.route]];
+
+ let itemLinks = [];
+ sections.forEach(section => {
+ if (!section.content.intro.disabled) {
+ const introLink = [
+ EDITION.route,
+ SERIES.route,
+ section.seriesParent.route,
+ SECTION.route,
+ section.section.route,
+ EDITION_INTRO.route,
+ ];
+ itemLinks.push(introLink);
}
- return routes;
+ const complexes: EditionComplex[] = getComplexesFromSections([section], false);
+ const complexLinks = complexes.map(complex => [complex.baseRoute, EDITION_SHEETS.route]);
+ itemLinks = itemLinks.concat(complexLinks);
});
- return [...editionOverviewLink, ...rowTablesLink, ...prefaceLink, ...editionLinks];
+ return [...editionOverviewLink, ...rowTablesLink, ...prefaceLink, ...itemLinks];
}
-function generateExpectedOrderOfHeaders(editionComplexes: EditionComplex[]): string[] {
- const editionOverviewHeader = EDITION_ROUTE_CONSTANTS.SERIES.full;
- const rowTablesHeader = EDITION_ROUTE_CONSTANTS.ROWTABLES.full;
- const prefaceHeader = EDITION_ROUTE_CONSTANTS.PREFACE.full;
+function getExpectedItemTitles(sections: EditionOutlineSection[], includeDisabled: boolean): string[] {
+ const { SERIES, ROWTABLES, PREFACE, EDITION_INTRO } = EDITION_ROUTE_CONSTANTS;
+ let itemTitles: string[] = [SERIES.full, ROWTABLES.full, PREFACE.full];
- const editionHeaders = editionComplexes.flatMap(complex => {
- if (complex === EditionComplexesService.getEditionComplexById('OP25')) {
- return [EDITION_TYPE_CONSTANTS.SKETCH_EDITION.full, EDITION_ROUTE_CONSTANTS.EDITION_GRAPH.full];
+ sections.forEach(section => {
+ if (!section.content.intro.disabled) {
+ itemTitles.push(EDITION_INTRO.full);
}
- return [EDITION_TYPE_CONSTANTS.SKETCH_EDITION.full];
+ const complexes: EditionComplex[] = getComplexesFromSections([section], includeDisabled);
+ const complexTitels = complexes.map(complex => complex.complexId.full);
+ itemTitles = itemTitles.concat(complexTitels);
});
- return [editionOverviewHeader, rowTablesHeader, prefaceHeader, ...editionHeaders];
+ return itemTitles;
}
describe('EditionInfoComponent (DONE)', () => {
@@ -62,15 +107,20 @@ describe('EditionInfoComponent (DONE)', () => {
let linkDes: DebugElement[];
let routerLinks;
- let expectedEditionComplexes: EditionComplex[];
- let expectedOrderOfRouterlinks: string[][];
- let expectedOrderOfHeaders: string[];
+ let mockDocument: Document;
+ let mockEditionStateService: Partial;
- const expectedEditionRouteConstants: typeof EDITION_ROUTE_CONSTANTS = EDITION_ROUTE_CONSTANTS;
- const expectedEditionTypeConstants: typeof EDITION_TYPE_CONSTANTS = EDITION_TYPE_CONSTANTS;
+ let setupEditionViewSpy: Spy;
+ let editionStateServiceGetSelectedEditionSectionSpy: Spy;
const expectedEditionInfoHeader = 'Edition';
- const expectedSliceIndex = 5;
+ const expectedEditionRouteConstants: typeof EDITION_ROUTE_CONSTANTS = EDITION_ROUTE_CONSTANTS;
+ let expectedSections: EditionOutlineSection[];
+
+ let expectedRouterLinks: string[][];
+ let expectedItemTitles: string[];
+ let expectedItemTitlesWithLinks: string[];
+ let expectedEditionComplexes: EditionComplex[];
// Global NgbConfigModule
@NgModule({ imports: [NgbAccordionModule], exports: [NgbAccordionModule] })
@@ -81,10 +131,21 @@ describe('EditionInfoComponent (DONE)', () => {
}
}
+ beforeAll(() => {
+ EditionComplexesService.initializeEditionComplexesList();
+ EditionOutlineService.initializeEditionOutline();
+ });
+
beforeEach(waitForAsync(() => {
+ // Mock edition state service
+ mockEditionStateService = {
+ getSelectedEditionSection: (): Observable => observableOf(null),
+ };
+
TestBed.configureTestingModule({
imports: [NgbAccordionWithConfigModule, NgbAccordionDirective],
declarations: [EditionInfoComponent, RouterLinkStubDirective],
+ providers: [{ provide: EditionStateService, useValue: mockEditionStateService }],
}).compileComponents();
}));
@@ -93,22 +154,27 @@ describe('EditionInfoComponent (DONE)', () => {
component = fixture.componentInstance;
compDe = fixture.debugElement;
+ mockEditionStateService = TestBed.inject(EditionStateService);
+ mockDocument = TestBed.inject(DOCUMENT);
+
// Test data
- expectedEditionComplexes = [
- EditionComplexesService.getEditionComplexById('OP3'),
- EditionComplexesService.getEditionComplexById('OP4'),
- EditionComplexesService.getEditionComplexById('OP12'),
- EditionComplexesService.getEditionComplexById('OP23'),
- EditionComplexesService.getEditionComplexById('OP25'),
- EditionComplexesService.getEditionComplexById('M22'),
- EditionComplexesService.getEditionComplexById('M30'),
- EditionComplexesService.getEditionComplexById('M31'),
- EditionComplexesService.getEditionComplexById('M34'),
- EditionComplexesService.getEditionComplexById('M35_42'),
- EditionComplexesService.getEditionComplexById('M37'),
+ expectedSections = [
+ EditionOutlineService.getEditionSectionById('1', '5'),
+ EditionOutlineService.getEditionSectionById('2', '2a'),
];
- expectedOrderOfRouterlinks = generateExpectedOrderOfRouterlinks(expectedEditionComplexes);
- expectedOrderOfHeaders = generateExpectedOrderOfHeaders(expectedEditionComplexes);
+ expectedEditionComplexes = getComplexesFromSections(expectedSections);
+ expectedRouterLinks = getExpectedRouterlinks(expectedSections);
+ expectedItemTitles = getExpectedItemTitles(expectedSections, true);
+ expectedItemTitlesWithLinks = getExpectedItemTitles(expectedSections, false);
+
+ // Spies on component functions
+ // `.and.callThrough` will track the spy down the nested describes, see
+ // https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
+ setupEditionViewSpy = spyOn(component, 'setupEditionView').and.callThrough();
+ editionStateServiceGetSelectedEditionSectionSpy = spyOn(
+ mockEditionStateService,
+ 'getSelectedEditionSection'
+ ).and.callThrough();
});
afterAll(() => {
@@ -120,26 +186,18 @@ describe('EditionInfoComponent (DONE)', () => {
});
describe('BEFORE initial data binding', () => {
- it('... should have `DISPLAYED_EDITION_COMPLEXES`', () => {
- expectToEqual(component.DISPLAYED_EDITION_COMPLEXES, expectedEditionComplexes);
- });
-
- it('... should have as many `DISPLAYED_EDITION_COMPLEXES` as there are complexes in the array', () => {
- expectToEqual(component.DISPLAYED_EDITION_COMPLEXES.length, expectedEditionComplexes.length);
+ it('... should have `DISPLAYED_SECTIONS`', () => {
+ expectToEqual(component.DISPLAYED_SECTIONS, expectedSections);
});
- it('... should have `SLICE_INDEX`', () => {
- expectToBe(component.SLICE_INDEX, expectedSliceIndex);
+ it('... should have as many `DISPLAYED_SECTIONS` as there are sections in the array', () => {
+ expectToEqual(component.DISPLAYED_SECTIONS.length, expectedSections.length);
});
it('... should have `editionRouteConstants`', () => {
expectToBe(component.editionRouteConstants, expectedEditionRouteConstants);
});
- it('... should have `editionTypeConstants`', () => {
- expectToBe(component.editionTypeConstants, expectedEditionTypeConstants);
- });
-
describe('VIEW', () => {
it('... should contain 1 div.card with div.card-body', () => {
getAndExpectDebugElementByCss(compDe, 'div.card', 1, 1);
@@ -151,27 +209,19 @@ describe('EditionInfoComponent (DONE)', () => {
});
it('... should contain one div.accordion', () => {
- // NgbAccordion debug element
getAndExpectDebugElementByCss(compDe, 'div.accordion', 1, 1);
});
- it('... should contain 3 div.accordion-items with header and non-collapsible body yet in div.accordion', () => {
- // NgbAccordion debug element
+ it('... should contain 1 div.accordion-item with header and non-collapsed body in div.accordion', () => {
const accordionDes = getAndExpectDebugElementByCss(compDe, 'div.accordion', 1, 1);
+ const itemDes = getAndExpectDebugElementByCss(accordionDes[0], 'div.accordion-item', 1, 1);
- // Div.accordion-item
- const itemDes = getAndExpectDebugElementByCss(accordionDes[0], 'div.accordion-item', 3, 3);
+ getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-header', 1, 1);
- itemDes.forEach(item => {
- // Header (div.accordion-header)
- getAndExpectDebugElementByCss(item, 'div.accordion-header', 1, 1);
+ const itemBodyDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-collapse', 1, 1);
+ const itemBodyEl = itemBodyDes[0].nativeElement;
- // Item body
- const itemBodyDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-collapse', 1, 1);
- const itemBodyEl = itemBodyDes[0].nativeElement;
-
- expectToContain(itemBodyEl.classList, 'accordion-collapse');
- });
+ expectToContain(itemBodyEl.classList, 'accordion-collapse');
});
});
});
@@ -182,6 +232,10 @@ describe('EditionInfoComponent (DONE)', () => {
fixture.detectChanges();
});
+ it('... should have triggerd `setupEditionView` method', () => {
+ expectSpyCall(setupEditionViewSpy, 1);
+ });
+
describe('VIEW', () => {
it('... should render `editionInfoHeader`', () => {
const headerDes = getAndExpectDebugElementByCss(compDe, 'h5#awg-edition-info-header', 1, 1);
@@ -190,161 +244,393 @@ describe('EditionInfoComponent (DONE)', () => {
expectToBe(headerEl.textContent, expectedEditionInfoHeader);
});
- it('... should contain 3 div.accordion-items with header and open body in div.accordion', () => {
- // NgbAccordion debug element
+ it('... should contain 3 div.accordion-items with header', () => {
const accordionDes = getAndExpectDebugElementByCss(compDe, 'div.accordion', 1, 1);
+ const itemDes = getAndExpectDebugElementByCss(
+ accordionDes[0],
+ 'div.accordion-item',
+ expectedSections.length + 1,
+ expectedSections.length + 1
+ );
- // Div.accordion-item
- const itemDes = getAndExpectDebugElementByCss(accordionDes[0], 'div.accordion-item', 3, 3);
+ itemDes.forEach(itemDe => {
+ getAndExpectDebugElementByCss(itemDe, 'div.accordion-header', 1, 1);
+ });
+ });
- itemDes.forEach(item => {
- // Header (div.accordion-header)
- getAndExpectDebugElementByCss(item, 'div.accordion-header', 1, 1);
+ it('... should only have open body for first div.accordion-item in div.accordion', () => {
+ const accordionDes = getAndExpectDebugElementByCss(compDe, 'div.accordion', 1, 1);
+ const itemDes = getAndExpectDebugElementByCss(
+ accordionDes[0],
+ 'div.accordion-item',
+ expectedSections.length + 1,
+ expectedSections.length + 1
+ );
- // Item body
- const itemBodyDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-collapse', 1, 1);
+ itemDes.forEach((itemDe, index) => {
+ const itemBodyDes = getAndExpectDebugElementByCss(itemDe, 'div.accordion-collapse', 1, 1);
const itemBodyEl = itemBodyDes[0].nativeElement;
- expectToContain(itemBodyEl.classList, 'show');
+ if (index === 0) {
+ expectToContain(itemBodyEl.classList, 'show');
+ } else {
+ expectToContain(itemBodyEl.classList, 'collapse');
+ }
+ });
+ });
+
+ it('... should open item body for selected section', () => {
+ expectedSections.forEach((section, sectionIndex) => {
+ component.selectedEditionSection = section;
+ fixture.detectChanges();
+
+ const accordionDes = getAndExpectDebugElementByCss(compDe, 'div.accordion', 1, 1);
+ const itemDes = getAndExpectDebugElementByCss(
+ accordionDes[0],
+ 'div.accordion-item',
+ expectedSections.length + 1,
+ expectedSections.length + 1
+ );
+
+ itemDes.forEach((itemDe, index) => {
+ const itemBodyDes = getAndExpectDebugElementByCss(itemDe, 'div.accordion-collapse', 1, 1);
+ const itemBodyEl = itemBodyDes[0].nativeElement;
+
+ if (index === 0 || index === sectionIndex + 1) {
+ expectToContain(itemBodyEl.classList, 'show');
+ } else {
+ expect(itemBodyEl.classList).not.toContain('show');
+ }
+ });
});
});
- it('... should display item header buttons', () => {
- // Header debug elements
- const itemHeaderDes = getAndExpectDebugElementByCss(compDe, 'div.accordion-header', 3, 3);
+ describe('... with open item bodies', () => {
+ beforeEach(() => {
+ // Open second and third item
+ const itemDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.accordion-item',
+ expectedSections.length + 1,
+ expectedSections.length + 1
+ );
- const expectedHeaders = [
- 'Allgemein',
- `${expectedEditionRouteConstants.EDITION.short} ${expectedEditionRouteConstants.SERIES_1.short}/${expectedEditionRouteConstants.SECTION_5.short}`,
- `${expectedEditionRouteConstants.EDITION.short} ${expectedEditionRouteConstants.SERIES_2.short}/${expectedEditionRouteConstants.SECTION_2A.short}`,
- ];
+ const itemHeader1Des = getAndExpectDebugElementByCss(itemDes[1], 'div.accordion-header', 1, 1);
+ const itemHeader2Des = getAndExpectDebugElementByCss(itemDes[2], 'div.accordion-header', 1, 1);
- itemHeaderDes.forEach((itemHeaderDe, index) => {
- const btnDes = getAndExpectDebugElementByCss(itemHeaderDe, 'button.accordion-button', 1, 1);
- const btnEl = btnDes[0].nativeElement;
+ const btn1Des = getAndExpectDebugElementByCss(itemHeader1Des[0], 'button.accordion-button', 1, 1);
+ const btn2Des = getAndExpectDebugElementByCss(itemHeader2Des[0], 'button.accordion-button', 1, 1);
- // Check button contents
- expectToBe(btnEl.textContent.trim(), expectedHeaders[index]);
+ const btn1El = btn1Des[0].nativeElement;
+ const btn2El = btn2Des[0].nativeElement;
+
+ // Click header buttons to open
+ click(btn1El as HTMLElement);
+ click(btn2El as HTMLElement);
+ fixture.detectChanges();
});
- });
- it('... should toggle item body on click', () => {
- // Div.accordion-item
- const itemDes = getAndExpectDebugElementByCss(compDe, 'div.accordion-item', 3, 3);
+ it('... should display item header buttons', () => {
+ const itemHeaderDes = getAndExpectDebugElementByCss(compDe, 'div.accordion-header', 3, 3);
- // Header debug elements
- const itemHeaderDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-header', 1, 1);
+ const expectedHeaders = ['Allgemein'];
+ expectedSections.forEach(expectedSection => {
+ const awg = expectedEditionRouteConstants.EDITION.short;
+ const series = expectedSection.seriesParent.short;
+ const section = expectedSection.section.short;
+ expectedHeaders.push(`${awg} ${series}/${section}`);
+ });
- // Button debug elements
- const btnDes = getAndExpectDebugElementByCss(itemHeaderDes[0], 'button.accordion-button', 1, 1);
- // Button native elements to click on
- const btnEl = btnDes[0].nativeElement;
+ itemHeaderDes.forEach((itemHeaderDe, index) => {
+ const btnDes = getAndExpectDebugElementByCss(itemHeaderDe, 'button.accordion-button', 1, 1);
+ const btnEl = btnDes[0].nativeElement;
- // Item body is open
- let itemBodyDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-collapse', 1, 1, 'open');
- let itemBodyEl = itemBodyDes[0].nativeElement;
+ expectToBe(btnEl.textContent.trim(), expectedHeaders[index]);
+ });
+ });
- expectToContain(itemBodyEl.classList, 'show');
+ it('... should toggle item bodies on click', () => {
+ const itemDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.accordion-item',
+ expectedSections.length + 1,
+ expectedSections.length + 1
+ );
- // Click header button
- click(btnEl as HTMLElement);
- detectChangesOnPush(fixture);
+ itemDes.forEach(itemDe => {
+ const itemHeaderDes = getAndExpectDebugElementByCss(itemDe, 'div.accordion-header', 1, 1);
- // Item body is collapsed
- itemBodyDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-collapse', 1, 1, 'collapsed');
- itemBodyEl = itemBodyDes[0].nativeElement;
+ const btnDes = getAndExpectDebugElementByCss(itemHeaderDes[0], 'button.accordion-button', 1, 1);
+ const btnEl = btnDes[0].nativeElement;
- expectToContain(itemBodyEl.classList, 'collapse');
+ // Item body is open
+ let itemBodyDes = getAndExpectDebugElementByCss(itemDe, 'div.accordion-collapse', 1, 1, 'open');
+ let itemBodyEl = itemBodyDes[0].nativeElement;
- // Click header button
- click(btnEl as HTMLElement);
- detectChangesOnPush(fixture);
+ expectToContain(itemBodyEl.classList, 'show');
- // Item body is open again
- itemBodyDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-collapse', 1, 1, 'open');
- itemBodyEl = itemBodyDes[0].nativeElement;
+ // Click header button
+ click(btnEl as HTMLElement);
+ detectChangesOnPush(fixture);
- expectToContain(itemBodyEl.classList, 'show');
- });
+ // Item body is collapsed
+ itemBodyDes = getAndExpectDebugElementByCss(
+ itemDe,
+ 'div.accordion-collapse',
+ 1,
+ 1,
+ 'collapsed'
+ );
+ itemBodyEl = itemBodyDes[0].nativeElement;
- it('... should contain item body with 3 paragraphs in first item', () => {
- // Div.accordion-item
- const itemDes = getAndExpectDebugElementByCss(compDe, 'div.accordion-item', 3, 3);
+ expect(itemBodyEl.classList).not.toContain('show');
- // Item body
- const itemBodyDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-body', 1, 1);
+ // Click header button
+ click(btnEl as HTMLElement);
+ detectChangesOnPush(fixture);
- // Paragraph
- getAndExpectDebugElementByCss(itemBodyDes[0], 'p', 3, 3);
+ // Item body is open again
+ itemBodyDes = getAndExpectDebugElementByCss(itemDe, 'div.accordion-collapse', 1, 1, 'open');
+ itemBodyEl = itemBodyDes[0].nativeElement;
+
+ expectToContain(itemBodyEl.classList, 'show');
+ });
+ });
+
+ it('... should contain item body with 3 paragraphs in first item', () => {
+ const itemDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.accordion-item',
+ expectedSections.length + 1,
+ expectedSections.length + 1
+ );
+ const itemBodyDes = getAndExpectDebugElementByCss(itemDes[0], 'div.accordion-body', 1, 1);
+
+ getAndExpectDebugElementByCss(itemBodyDes[0], 'p', 3, 3);
+ });
+
+ it('... should contain item bodies with as many paragraphs as complexes (plus intro) in following items', () => {
+ const itemDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.accordion-item',
+ expectedSections.length + 1,
+ expectedSections.length + 1
+ );
+
+ itemDes.forEach((itemDe, index) => {
+ if (index < 1) {
+ return;
+ }
+ const itemBodyDes = getAndExpectDebugElementByCss(itemDe, 'div.accordion-body', 1, 1);
+
+ const complexes = getComplexesFromSections([expectedSections[index - 1]]);
+ let expectedLength = complexes.length;
+
+ if (!expectedSections[index - 1].content.intro.disabled) {
+ expectedLength++;
+ }
+
+ getAndExpectDebugElementByCss(itemBodyDes[0], 'p', expectedLength, expectedLength);
+ });
+ });
+
+ it('... should render titles of all available edition info items', () => {
+ const itemTitles = expectedItemTitles;
+
+ const spanDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'span.awg-edition-info-item-title',
+ itemTitles.length,
+ itemTitles.length
+ );
+
+ spanDes.forEach((spanDe, index) => {
+ const spanEl = spanDe.nativeElement;
+
+ const mockSpan = mockDocument.createElement('span');
+ mockSpan.innerHTML = itemTitles[index];
+
+ expectToBe(spanEl.textContent.trim(), mockSpan.textContent.trim());
+ });
+ });
+
+ it('... should render links only for non-disabled edition info items', () => {
+ const itemTitles = expectedItemTitlesWithLinks;
+
+ const aDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'a.awg-edition-info-item-link',
+ itemTitles.length,
+ itemTitles.length
+ );
+
+ aDes.forEach((aDe, index) => {
+ const spanDes = getAndExpectDebugElementByCss(aDe, 'span.awg-edition-info-item-title', 1, 1);
+ const spanEl = spanDes[0].nativeElement;
+
+ const mockSpan = mockDocument.createElement('span');
+ mockSpan.innerHTML = itemTitles[index];
+
+ expectToBe(spanEl.textContent.trim(), mockSpan.textContent.trim());
+ });
+ });
});
+ });
- it('... should contain item body with 5 paragraphs in second item', () => {
- // Div.accordion-item
- const itemDes = getAndExpectDebugElementByCss(compDe, 'div.accordion-item', 3, 3);
+ describe('#setupEditionView()', () => {
+ it('... should have a method `setupEditionView`', () => {
+ expect(component.setupEditionView).toBeDefined();
+ });
- // Item body
- const itemBodyDes = getAndExpectDebugElementByCss(itemDes[1], 'div.accordion-body', 1, 1);
+ it('... should trigger `getSelectedEditionSection` method (via EditionStateService)', () => {
+ expectSpyCall(setupEditionViewSpy, 1);
+ expectSpyCall(editionStateServiceGetSelectedEditionSectionSpy, 1);
- // Length of expected paragraphs (first two items)
- const expectedLength = expectedEditionComplexes.slice(0, expectedSliceIndex).length;
+ component.setupEditionView();
- // Paragraphs
- getAndExpectDebugElementByCss(itemBodyDes[0], 'p', expectedLength, expectedLength);
+ expectSpyCall(setupEditionViewSpy, 2);
+ expectSpyCall(editionStateServiceGetSelectedEditionSectionSpy, 2);
});
- it('... should contain item body with 6 paragraphs in third item', () => {
- // Div.accordion-item
- const itemDes = getAndExpectDebugElementByCss(compDe, 'div.accordion-item', 3, 3);
+ it('... should get selectedEditionSection (via EditionStateService)', waitForAsync(() => {
+ editionStateServiceGetSelectedEditionSectionSpy.and.returnValue(observableOf(expectedSections[0]));
- // Item body
- const itemBodyDes = getAndExpectDebugElementByCss(itemDes[2], 'div.accordion-body', 1, 1);
+ expectToEqual(component.selectedEditionSection, null);
- // Length of expected paragraphs (last items starting from index 5)
- const expectedLength = expectedEditionComplexes.slice(expectedSliceIndex).length;
+ component.setupEditionView();
- // Paragraphs
- getAndExpectDebugElementByCss(itemBodyDes[0], 'p', expectedLength, expectedLength);
+ expectToEqual(component.selectedEditionSection, expectedSections[0]);
+ }));
+ });
+
+ describe('#combineComplexes()', () => {
+ it('... should have a method `combineComplexes`', () => {
+ expect(component.combineComplexes).toBeDefined();
});
- it('... should render links in edition info headers', () => {
- const aDes = getAndExpectDebugElementByCss(
- compDe,
- 'a.awg-edition-info-header-link',
- expectedOrderOfHeaders.length,
- expectedOrderOfHeaders.length
- );
+ describe('... should return an empty array if ...', () => {
+ it('... both opus and mnr complexes are empty', () => {
+ const section: EditionOutlineSection = {
+ content: {
+ complexTypes: {
+ opus: [],
+ mnr: [],
+ },
+ },
+ } as EditionOutlineSection;
- aDes.forEach((aDe, index) => {
- const aEl = aDe.nativeElement;
+ const result = component.combineComplexes(section);
- expectToEqual(aEl.textContent, expectedOrderOfHeaders[index]);
+ expectToEqual(result, []);
});
- });
- it('... should render title of edition info headers', () => {
- const titleDes = getAndExpectDebugElementByCss(
- compDe,
- 'span.awg-edition-info-header-title',
- expectedEditionComplexes.length,
- expectedEditionComplexes.length
- );
+ it('... both opus and mnr complexes are undefined', () => {
+ const section: EditionOutlineSection = {
+ content: {
+ complexTypes: {
+ opus: undefined,
+ mnr: undefined,
+ },
+ },
+ } as EditionOutlineSection;
+
+ const result = component.combineComplexes(section);
+
+ expectToEqual(result, []);
+ });
+
+ it('... complexTypes are undefined', () => {
+ const section: EditionOutlineSection = {
+ content: {
+ complexTypes: undefined,
+ },
+ } as EditionOutlineSection;
- titleDes.forEach((titleDe, index) => {
- const titleEl = titleDe.nativeElement;
+ const result = component.combineComplexes(section);
- expectToBe(titleEl.innerHTML, expectedEditionComplexes[index].complexId.full);
+ expectToEqual(result, []);
});
});
+
+ it('... should return combined opus and mnr complexes', () => {
+ const opusComplex = EditionComplexesService.getEditionComplexById('OP12');
+ const mnrComplex = EditionComplexesService.getEditionComplexById('M22');
+
+ const section: EditionOutlineSection = {
+ content: {
+ complexTypes: {
+ opus: [{ complex: opusComplex, disabled: false }],
+ mnr: [{ complex: mnrComplex, disabled: false }],
+ },
+ },
+ } as EditionOutlineSection;
+
+ const result = component.combineComplexes(section);
+
+ expectToEqual(result, [
+ { complex: opusComplex, disabled: false },
+ { complex: mnrComplex, disabled: false },
+ ]);
+ });
+
+ it('... should return only opus complexes if mnr complexes are empty', () => {
+ const opusComplex = EditionComplexesService.getEditionComplexById('OP12');
+ const section: EditionOutlineSection = {
+ content: {
+ complexTypes: {
+ opus: [{ complex: opusComplex, disabled: false }],
+ mnr: [],
+ },
+ },
+ } as EditionOutlineSection;
+
+ const result = component.combineComplexes(section);
+
+ expectToEqual(result, [{ complex: opusComplex, disabled: false }]);
+ });
+
+ it('... should return only mnr complexes if opus complexes are empty', () => {
+ const mnrComplex = EditionComplexesService.getEditionComplexById('M22');
+ const section: EditionOutlineSection = {
+ content: {
+ complexTypes: {
+ opus: [],
+ mnr: [{ complex: mnrComplex, disabled: false }],
+ },
+ },
+ } as EditionOutlineSection;
+
+ const result = component.combineComplexes(section);
+
+ expectToEqual(result, [{ complex: mnrComplex, disabled: false }]);
+ });
});
describe('[routerLink]', () => {
beforeEach(() => {
+ // Open second and third item
+ const itemDes = getAndExpectDebugElementByCss(compDe, 'div.accordion-item', 3, 3);
+
+ const itemHeader1Des = getAndExpectDebugElementByCss(itemDes[1], 'div.accordion-header', 1, 1);
+ const itemHeader2Des = getAndExpectDebugElementByCss(itemDes[2], 'div.accordion-header', 1, 1);
+
+ const btn1Des = getAndExpectDebugElementByCss(itemHeader1Des[0], 'button.accordion-button', 1, 1);
+ const btn2Des = getAndExpectDebugElementByCss(itemHeader2Des[0], 'button.accordion-button', 1, 1);
+
+ const btn1El = btn1Des[0].nativeElement;
+ const btn2El = btn2Des[0].nativeElement;
+
+ // Click header buttons to open
+ click(btn1El as HTMLElement);
+ click(btn2El as HTMLElement);
+ detectChangesOnPush(fixture);
+
// Find DebugElements with an attached RouterLinkStubDirective
linkDes = getAndExpectDebugElementByDirective(
compDe,
RouterLinkStubDirective,
- expectedOrderOfRouterlinks.length,
- expectedOrderOfRouterlinks.length
+ expectedRouterLinks.length,
+ expectedRouterLinks.length
);
// Get attached link directive instances using each DebugElement's injector
@@ -352,19 +638,20 @@ describe('EditionInfoComponent (DONE)', () => {
});
it('... can get correct number of routerLinks from template', () => {
- expectToBe(routerLinks.length, expectedOrderOfRouterlinks.length);
+ expectToBe(routerLinks.length, expectedRouterLinks.length);
});
it('... can get correct linkParams from template', () => {
- routerLinks.forEach((routerLink, index) => {
- expectToEqual(routerLink.linkParams, expectedOrderOfRouterlinks[index]);
+ routerLinks.forEach((routerLink: RouterLinkStubDirective, index: number) => {
+ const expectedRouterLink = expectedRouterLinks[index];
+ expectToEqual(routerLink.linkParams, expectedRouterLink);
});
});
it('... can click all links in template', () => {
- routerLinks.forEach((routerLink, index) => {
+ routerLinks.forEach((routerLink: RouterLinkStubDirective, index: number) => {
const linkDe = linkDes[index];
- const expectedRouterLink = expectedOrderOfRouterlinks[index];
+ const expectedRouterLink = expectedRouterLinks[index];
expectToBe(routerLink.navigatedTo, null);
diff --git a/src/app/side-info/edition-info/edition-info.component.ts b/src/app/side-info/edition-info/edition-info.component.ts
index 5330e3936c..8faf0633ea 100644
--- a/src/app/side-info/edition-info/edition-info.component.ts
+++ b/src/app/side-info/edition-info/edition-info.component.ts
@@ -1,8 +1,8 @@
-import { ChangeDetectionStrategy, Component } from '@angular/core';
+import { Component, OnInit } from '@angular/core';
-import { EDITION_ROUTE_CONSTANTS, EDITION_TYPE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
-import { EditionComplex } from '@awg-views/edition-view/models';
-import { EditionComplexesService } from '@awg-views/edition-view/services';
+import { EDITION_ROUTE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
+import { EditionOutlineComplexItem, EditionOutlineSection } from '@awg-views/edition-view/models';
+import { EditionOutlineService, EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionInfo component.
@@ -13,9 +13,8 @@ import { EditionComplexesService } from '@awg-views/edition-view/services';
selector: 'awg-edition-info',
templateUrl: './edition-info.component.html',
styleUrls: ['./edition-info.component.scss'],
- changeDetection: ChangeDetectionStrategy.OnPush,
})
-export class EditionInfoComponent {
+export class EditionInfoComponent implements OnInit {
/**
* Public variable: editionInfoHeader.
*
@@ -24,30 +23,30 @@ export class EditionInfoComponent {
editionInfoHeader = 'Edition';
/**
- * Readonly variable: DISPLAYED_EDITION_COMPLEXES.
+ * Public variable: selectedEditionSection$.
*
- * It keeps the array of displayed edition complexes.
+ * It keeps the selected section of the edition as an Observable of EditionOutlineSection.
*/
- readonly DISPLAYED_EDITION_COMPLEXES: EditionComplex[] = [
- EditionComplexesService.getEditionComplexById('OP3'),
- EditionComplexesService.getEditionComplexById('OP4'),
- EditionComplexesService.getEditionComplexById('OP12'),
- EditionComplexesService.getEditionComplexById('OP23'),
- EditionComplexesService.getEditionComplexById('OP25'),
- EditionComplexesService.getEditionComplexById('M22'),
- EditionComplexesService.getEditionComplexById('M30'),
- EditionComplexesService.getEditionComplexById('M31'),
- EditionComplexesService.getEditionComplexById('M34'),
- EditionComplexesService.getEditionComplexById('M35_42'),
- EditionComplexesService.getEditionComplexById('M37'),
+ selectedEditionSection: EditionOutlineSection;
+
+ /**
+ * Readonly variable: DISPLAYED_SECTIONS.
+ *
+ * It keeps the array of displayed sections.
+ */
+ readonly DISPLAYED_SECTIONS = [
+ EditionOutlineService.getEditionSectionById('1', '5'),
+ EditionOutlineService.getEditionSectionById('2', '2a'),
];
/**
- * Readonly variable: SLICE_INDEX.
+ * Constructor of the EditionInfoComponent.
+ *
+ * It declares a private instance of the EditionStateService.
*
- * It keeps the index for the slice of edition complexes.
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
*/
- readonly SLICE_INDEX = 5;
+ constructor(private editionStateService: EditionStateService) {}
/**
* Getter variable: editionRouteConstants.
@@ -59,11 +58,42 @@ export class EditionInfoComponent {
}
/**
- * Getter variable: editionTypeConstants.
+ * Angular life cycle hook: ngOnInit.
*
- * It returns the EDITION_TYPE_CONSTANTS.
- **/
- get editionTypeConstants(): typeof EDITION_TYPE_CONSTANTS {
- return EDITION_TYPE_CONSTANTS;
+ * It calls the containing methods
+ * when initializing the component.
+ */
+ ngOnInit() {
+ this.setupEditionView();
+ }
+
+ /**
+ * Public method: setupEditionView.
+ *
+ * It sets up the edition view by loading
+ * the selected series, section, and edition complex
+ * from the EditionStateService.
+ *
+ * @returns {void} Sets up the edition view.
+ */
+ setupEditionView(): void {
+ this.editionStateService.getSelectedEditionSection().subscribe(section => {
+ this.selectedEditionSection = section;
+ });
+ }
+
+ /**
+ * Public method: combineComplexes.
+ *
+ * It combines the opus and mnr complexes of a section.
+ *
+ * @param section {EditionOutlineSection} The edition outline section.
+ *
+ * @returns {EditionOutlineComplexItem[]} The combined complexes.
+ */
+ combineComplexes(section: EditionOutlineSection): EditionOutlineComplexItem[] {
+ const opusComplexes = section?.content?.complexTypes?.opus || [];
+ const mnrComplexes = section?.content?.complexTypes?.mnr || [];
+ return [...opusComplexes, ...mnrComplexes];
}
}
diff --git a/src/app/side-info/side-info-routing.module.ts b/src/app/side-info/side-info-routing.module.ts
index 30f792d407..d455a15c4b 100644
--- a/src/app/side-info/side-info-routing.module.ts
+++ b/src/app/side-info/side-info-routing.module.ts
@@ -1,34 +1,20 @@
import { NgModule } from '@angular/core';
import { RouterModule, Routes } from '@angular/router';
-import { ContactInfoComponent } from './contact-info/contact-info.component';
-import { EditionInfoComponent } from './edition-info/edition-info.component';
import { ResourceInfoComponent } from './resource-info/resource-info.component';
import { SearchInfoComponent } from './search-info/search-info.component';
-import { StructureInfoComponent } from './structure-info/structure-info.component';
/* Routes of the SideInfoModule */
const SIDE_INFO_ROUTES: Routes = [
- { path: 'contactInfo', component: ContactInfoComponent, outlet: 'side' },
- { path: 'editionInfo', component: EditionInfoComponent, outlet: 'side' },
{ path: 'resourceInfo', component: ResourceInfoComponent, outlet: 'side' },
{ path: 'searchInfo', component: SearchInfoComponent, outlet: 'side' },
- { path: 'structureInfo', component: StructureInfoComponent, outlet: 'side' },
];
/**
* Routed components of the {@link SideInfoModule}:
- * {@link ContactInfoComponent}, {@link EditionInfoComponent},
- * {@link ResourceInfoComponent}, {@link SearchInfoComponent},
- * {@link StructureInfoComponent}.
+ * {@link ResourceInfoComponent}, {@link SearchInfoComponent}.
*/
-export const routedSideInfoComponents = [
- ContactInfoComponent,
- EditionInfoComponent,
- ResourceInfoComponent,
- SearchInfoComponent,
- StructureInfoComponent,
-];
+export const routedSideInfoComponents = [ResourceInfoComponent, SearchInfoComponent];
/**
* Side info module routing.
diff --git a/src/app/side-info/structure-info/structure-info.component.spec.ts b/src/app/side-info/structure-info/structure-info.component.spec.ts
index 54ef7ba3f2..808bb77661 100644
--- a/src/app/side-info/structure-info/structure-info.component.spec.ts
+++ b/src/app/side-info/structure-info/structure-info.component.spec.ts
@@ -4,7 +4,7 @@ import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
import { cleanStylesFromDOM } from '@testing/clean-up-helper';
import { expectToBe, expectToContain, expectToEqual, getAndExpectDebugElementByCss } from '@testing/expect-helper';
-import { METADATA } from '@awg-core/core-data';
+import { META_DATA } from '@awg-core/core-data';
import { MetaSectionTypes, MetaStructure } from '@awg-core/core-models';
import { CoreService } from '@awg-core/services';
@@ -22,7 +22,7 @@ describe('StructureInfoComponent (DONE)', () => {
beforeEach(waitForAsync(() => {
// Stub service for test purposes
- mockCoreService = { getMetaDataSection: sectionType => METADATA[sectionType] };
+ mockCoreService = { getMetaDataSection: sectionType => META_DATA[sectionType] };
TestBed.configureTestingModule({
declarations: [StructureInfoComponent],
@@ -36,7 +36,7 @@ describe('StructureInfoComponent (DONE)', () => {
compDe = fixture.debugElement;
// Test data
- expectedStructureMetaData = METADATA[MetaSectionTypes.structure];
+ expectedStructureMetaData = META_DATA[MetaSectionTypes.structure];
// Spies on component functions
// `.and.callThrough` will track the spy down the nested describes, see
diff --git a/src/app/views/contact-view/contact-view-routing.module.ts b/src/app/views/contact-view/contact-view-routing.module.ts
index 83b401fe95..13518ba733 100644
--- a/src/app/views/contact-view/contact-view-routing.module.ts
+++ b/src/app/views/contact-view/contact-view-routing.module.ts
@@ -1,6 +1,7 @@
import { NgModule } from '@angular/core';
import { RouterModule, Routes } from '@angular/router';
+import { ContactInfoComponent } from '@awg-side-info/contact-info/contact-info.component';
import { ContactViewComponent } from '@awg-views/contact-view/contact-view.component';
/* Routes of the ContactViewModule */
@@ -10,13 +11,18 @@ const CONTACT_VIEW_ROUTES: Routes = [
component: ContactViewComponent,
data: { title: 'AWG Online Edition – Contact' },
},
+ {
+ path: '',
+ outlet: 'side',
+ component: ContactInfoComponent,
+ },
];
/**
* Routed components of the {@link ContactViewModule}:
* {@link ContactViewComponent}.
*/
-export const routedContactViewComponents = [ContactViewComponent];
+export const routedContactViewComponents = [ContactViewComponent, ContactInfoComponent];
/**
* ContactView module routing.
diff --git a/src/app/views/contact-view/contact-view.component.html b/src/app/views/contact-view/contact-view.component.html
index d9b7d39cc5..a09e6784f7 100644
--- a/src/app/views/contact-view/contact-view.component.html
+++ b/src/app/views/contact-view/contact-view.component.html
@@ -1,195 +1,199 @@
-
-
-
-Empfohlene Zitierweisen:
-
- Website:
-
- {{ pageMetaData.awgProjectName }}. Projekt-Website:
- {{ pageMetaData?.awgProjectUrl }} , abgerufen am
- {{ today | date: dateFormat }}.
-
-
- Online-Edition:
-
- {{ pageMetaData.awgProjectName }}. Online-Edition (Version
- {{ pageMetaData?.version }} vom
- {{ pageMetaData?.versionReleaseDate }}): {{ pageMetaData?.awgAppUrl }} , abgerufen am
- {{ today | date: dateFormat }}.
-
-
-
-
-
-
- GitHub:
- Repository unter:
-
- {{ pageMetaData?.githubUrl }}
-
-
-
-
- Compodoc:
- Dokumentation von Struktur und Funktionalitäten der Angular App:
- awg-app documentation
-
-
-
-
-
-
- Herausgeber:
- {{ pageMetaData.awgProjectName }}
- {{ contactMetaData.address.institution }}
- {{ contactMetaData.address.street }}
- {{ contactMetaData.address.postalCode }} {{ contactMetaData.address.city }}
- {{ contactMetaData.address.country }}
-
-
-
- Konzept:
- {{ pageMetaData.awgProjectName }}
-
-
- Texte/Inhalte:
- Die Verantwortung für die Inhalte der Website liegt bei der {{ pageMetaData.awgProjectName }}. Bei inhaltlichen
- Fragen wenden Sie sich bitte an die unter Kontakt angegebene Adresse.
-
-
- Materialien, Notentexte und Bilder (vgl. Lizenzierung):
- Digitales Archiv der {{ pageMetaData.awgProjectName }}
- Online-Edition der {{ pageMetaData.awgProjectName }}
-
-
- Programmierung & Webdesign:
- Stefan Münnich
- Wissenschaftlicher Mitarbeiter der {{ pageMetaData.awgProjectName }}, Basel
stefan.muennich [at] unibas [dot] ch
-
-
-
-
-
- Disclaimer/Haftungserklärung:
- Urheberrecht und Lizenzierung:
-
- Sämtliche im Rahmen der {{ pageMetaData.awgProjectName }} erarbeiteten und auf ihrer Website oder ihrer
- Online-Edition veröffentlichten Inhalte sowie auch alle Inhalte, die von der Website oder der Online-Edition der
- Anton Webern Gesamtausgabe aus auf der DaSCH Service Platform (DSP)/SALSAH (Projektbereich der Anton Webern
- Gesamtausgabe) für den Nutzer zugänglich sind, sind urheberrechtlich geschützt und werden – sofern nicht anders
- deklariert – zu den Bedingungen der Creative Commons-Lizenz „Namensnennung – Weitergabe unter gleichen
- Bedingungen 4.0 International" (CC BY-SA-4.0) zur Verfügung gestellt. Jede davon abweichende Verwertung bedarf der vorherigen schriftlichen Zustimmung
- durch den jeweiligen Rechteinhaber. Allfällige Bewilligungsgesuche sind an die
- {{ pageMetaData.awgProjectName }} zu richten (Kontakt). Alle Rechte an zugänglich gemachten externen
- Bildinhalten verbleiben bei den Privateigentümern bzw. den archivierenden Institutionen, bei denen die Rechte
- für eine allfällige Weiterverwendung einzuholen sind.
-
-
-
- Der Software-Code dieses Prototyps wird auf
- GitHub unter einer
- MIT-Lizenz zur Verfügung gestellt.
-
-
- Externe Links:
-
- Die {{ pageMetaData.awgProjectName }} hat keinen Einfluss auf und übernimmt keine Verantwortung für die Inhalte
- der von ihrer Website, von ihrer Online-Edition oder von der DaSCH Service Platform (DSP)/SALSAH (Projektbereich
- der {{ pageMetaData.awgProjectName }}) aus verlinkten externen Internetseiten. Eine Prüfung bei der Verlinkung
- ergab keine strafbaren Inhalte auf diesen Seiten. Alle Linkangaben sind ohne Gewähr. Seitenaufrufe externer
- Seiten über diese Links erfolgen auf eigene Gefahr. Dies gilt für alle Links auf der Website und der
- Online-Edition der {{ pageMetaData.awgProjectName }} sowie auf der DaSCH Service Platform (DSP)/SALSAH
- (Projektbereich der Anton Webern Gesamtausgabe).
-
-
- Haftungserklärung:
-
- Die {{ pageMetaData.awgProjectName }} bemüht sich um richtige und aktualisierte Informationen auf ihrer Website
- und ihrer Online-Edition, übernimmt jedoch keinerlei Garantien oder Zusicherungen betreffend der Vollständigkeit
- der auf dieser enthaltenen bzw. referenzierten Informationen. Prinzipiell erfolgen Zugang, Benutzung und
- Inanspruchnahme der Dienstleistungen der Website der {{ pageMetaData.awgProjectName }} ausschließlich auf
- eigenes Risiko des Nutzers. Weder die Gesamtausgabe noch eine von ihr beigezogene, in Herstellung,
- Informationseingabe und Informationsvermittlung der Website involvierte Hilfsperson sind in irgendeiner Form
- haftbar für etwaige Schäden, die im Zusammenhang mit Zugang, Benutzung oder möglichen Störungen beim Gebrauch
- der Website auftreten könnten.
-
-
- Google Analytics:
-
- Die {{ pageMetaData.awgProjectName }} setzt auf Grundlage ihrer berechtigten Interessen (d.h. Interesse an der
- Analyse und Optimierung unseres Onlineangebotes im Sinne des Art.
- 6 Abs. 1 lit. f. DSGVO) Google Analytics, einen
- Webanalysedienst der Google LLC („Google“) ein. Google verwendet Cookies. Die durch das Cookie erzeugten
- Informationen über Benutzung des Onlineangebotes durch die Nutzer werden in der Regel an einen Server von Google
- in den USA übertragen und dort gespeichert.
-
-
-
- Google ist unter dem Privacy-Shield-Abkommen zertifiziert und bietet hierdurch eine Garantie, das europäische
- Datenschutzrecht einzuhalten (https://www.privacyshield.gov/participant?id=a2zt000000001L5AAI&status=Active).
-
-
-
- Google wird diese Informationen in unserem Auftrag benutzen, um die Nutzung unseres Onlineangebotes durch die
- Nutzer auszuwerten, um Reports über die Aktivitäten innerhalb dieses Onlineangebotes zusammenzustellen und um
- weitere, mit der Nutzung dieses Onlineangebotes und der Internetnutzung verbundene Dienstleistungen, uns
- gegenüber zu erbringen. Dabei können aus den verarbeiteten Daten pseudonyme Nutzungsprofile der Nutzer erstellt
- werden.
-
-
-
- Die {{ pageMetaData.awgProjectName }} setzt Google Analytics nur mit aktivierter IP-Anonymisierung ein. Das
- bedeutet, die IP-Adresse der Nutzer wird von Google innerhalb von Mitgliedstaaten der Europäischen Union oder in
- anderen Vertragsstaaten des Abkommens über den Europäischen Wirtschaftsraum gekürzt. Nur in Ausnahmefällen wird
- die volle IP-Adresse an einen Server von Google in den USA übertragen und dort gekürzt.
-
-
-
- Die von dem Browser des Nutzers übermittelte IP-Adresse wird nicht mit anderen Daten von Google zusammengeführt.
- Die Nutzer können die Speicherung der Cookies durch eine entsprechende Einstellung ihrer Browser-Software
- verhindern; die Nutzer können darüber hinaus die Erfassung der durch das Cookie erzeugten und auf ihre Nutzung
- des Onlineangebotes bezogenen Daten an Google sowie die Verarbeitung dieser Daten durch Google verhindern, indem
- sie das unter folgendem Link verfügbare Browser-Plugin herunterladen und installieren:
- https://tools.google.com/dlpage/gaoptout?hl=de.
-
-
-
- Weitere Informationen zur Datennutzung durch Google, Einstellungs- und Widerspruchsmöglichkeiten, erfahren Sie
- in der Datenschutzerklärung von Google (https://policies.google.com/technologies/ads) sowie in den Einstellungen für die Darstellung von Werbeeinblendungen durch Google (https://adssettings.google.com/authenticated).
-
-
- Die personenbezogenen Daten der Nutzer werden nach 14 Monaten gelöscht.
-
-
- [Erstellt mit Datenschutz-Generator.de von RA Dr. Thomas Schwenke; vom Websiteinhaber angepasst]
-
+
+
+
+ Empfohlene Zitierweisen:
+
+ Website:
+
+ {{ pageMetaData.awgProjectName }}. Projekt-Website:
+ {{ pageMetaData?.awgProjectUrl }} , abgerufen am
+ {{ today | date: dateFormat }}.
+
+
+ Online-Edition:
+
+ {{ pageMetaData.awgProjectName }}. Online-Edition (Version
+ {{ pageMetaData?.version }} vom
+ {{ pageMetaData?.versionReleaseDate }}): {{ pageMetaData?.awgAppUrl }} , abgerufen am
+ {{ today | date: dateFormat }}.
+
+
+
+
+
+
+ GitHub:
+ Repository unter:
+
+ {{ pageMetaData?.githubUrl }}
+
+
+
+
+ Compodoc:
+ Dokumentation von Struktur und Funktionalitäten der Angular App:
+ AWG-APP documentation
+
+
+
+
+
+
+ Herausgeber:
+ {{ pageMetaData.awgProjectName }}
+ {{ contactMetaData.address.institution }}
+ {{ contactMetaData.address.street }}
+ {{ contactMetaData.address.postalCode }} {{ contactMetaData.address.city }}
+ {{ contactMetaData.address.country }}
+
+
+
+ Konzept:
+ {{ pageMetaData.awgProjectName }}
+
+
+ Texte/Inhalte:
+ Die Verantwortung für die Inhalte der Website liegt bei der {{ pageMetaData.awgProjectName }}. Bei
+ inhaltlichen Fragen wenden Sie sich bitte an die unter Kontakt angegebene Adresse.
+
+
+ Materialien, Notentexte und Bilder (vgl. Lizenzierung):
+ Digitales Archiv der {{ pageMetaData.awgProjectName }}
+ Online-Edition der {{ pageMetaData.awgProjectName }}
+
+
+ Programmierung & Webdesign:
+ Stefan Münnich
+ Wissenschaftlicher Mitarbeiter der {{ pageMetaData.awgProjectName }}, Basel
stefan.muennich [at] unibas [dot] ch
+
+
+
+
+
+ Disclaimer/Haftungserklärung:
+ Urheberrecht und Lizenzierung:
+
+ Sämtliche im Rahmen der {{ pageMetaData.awgProjectName }} erarbeiteten und auf ihrer Website oder ihrer
+ Online-Edition veröffentlichten Inhalte sowie auch alle Inhalte, die von der Website oder der Online-Edition
+ der Anton Webern Gesamtausgabe aus auf der DaSCH Service Platform (DSP)/SALSAH (Projektbereich der Anton
+ Webern Gesamtausgabe) für den Nutzer zugänglich sind, sind urheberrechtlich geschützt und werden – sofern
+ nicht anders deklariert – zu den Bedingungen der Creative Commons-Lizenz „Namensnennung – Weitergabe unter
+ gleichen Bedingungen 4.0 International" (CC BY-SA-4.0) zur Verfügung gestellt. Jede davon abweichende Verwertung bedarf der vorherigen schriftlichen Zustimmung
+ durch den jeweiligen Rechteinhaber. Allfällige Bewilligungsgesuche sind an die
+ {{ pageMetaData.awgProjectName }} zu richten (Kontakt). Alle Rechte an zugänglich gemachten externen
+ Bildinhalten verbleiben bei den Privateigentümern bzw. den archivierenden Institutionen, bei denen die
+ Rechte für eine allfällige Weiterverwendung einzuholen sind.
+
+
+
+ Der Software-Code der Online-Edition wird auf
+ GitHub unter einer
+ MIT-Lizenz zur Verfügung gestellt.
+
+
+ Externe Links:
+
+ Die {{ pageMetaData.awgProjectName }} hat keinen Einfluss auf und übernimmt keine Verantwortung für die
+ Inhalte der von ihrer Website, von ihrer Online-Edition oder von der DaSCH Service Platform (DSP)/SALSAH
+ (Projektbereich der {{ pageMetaData.awgProjectName }}) aus verlinkten externen Internetseiten. Eine Prüfung
+ bei der Verlinkung ergab keine strafbaren Inhalte auf diesen Seiten. Alle Linkangaben sind ohne Gewähr.
+ Seitenaufrufe externer Seiten über diese Links erfolgen auf eigene Gefahr. Dies gilt für alle Links auf der
+ Website und der Online-Edition der {{ pageMetaData.awgProjectName }} sowie auf der DaSCH Service Platform
+ (DSP)/SALSAH (Projektbereich der Anton Webern Gesamtausgabe).
+
+
+ Haftungserklärung:
+
+ Die {{ pageMetaData.awgProjectName }} bemüht sich um richtige und aktualisierte Informationen auf ihrer
+ Website und ihrer Online-Edition, übernimmt jedoch keinerlei Garantien oder Zusicherungen betreffend der
+ Vollständigkeit der auf dieser enthaltenen bzw. referenzierten Informationen. Prinzipiell erfolgen Zugang,
+ Benutzung und Inanspruchnahme der Dienstleistungen der Website der
+ {{ pageMetaData.awgProjectName }} ausschließlich auf eigenes Risiko des Nutzers. Weder die Gesamtausgabe
+ noch eine von ihr beigezogene, in Herstellung, Informationseingabe und Informationsvermittlung der Website
+ involvierte Hilfsperson sind in irgendeiner Form haftbar für etwaige Schäden, die im Zusammenhang mit
+ Zugang, Benutzung oder möglichen Störungen beim Gebrauch der Website auftreten könnten.
+
+
+ Google Analytics:
+
+ Die {{ pageMetaData.awgProjectName }} setzt auf Grundlage ihrer berechtigten Interessen (d.h. Interesse an
+ der Analyse und Optimierung unseres Onlineangebotes im Sinne des Art.
+ 6 Abs. 1 lit. f. DSGVO) Google Analytics, einen
+ Webanalysedienst der Google LLC („Google“) ein. Google verwendet Cookies. Die durch das Cookie erzeugten
+ Informationen über Benutzung des Onlineangebotes durch die Nutzer werden in der Regel an einen Server von
+ Google in den USA übertragen und dort gespeichert.
+
+
+
+ Google ist unter dem Privacy-Shield-Abkommen zertifiziert und bietet hierdurch eine Garantie, das
+ europäische Datenschutzrecht einzuhalten (https://www.privacyshield.gov/participant?id=a2zt000000001L5AAI&status=Active).
+
+
+
+ Google wird diese Informationen in unserem Auftrag benutzen, um die Nutzung unseres Onlineangebotes durch
+ die Nutzer auszuwerten, um Reports über die Aktivitäten innerhalb dieses Onlineangebotes zusammenzustellen
+ und um weitere, mit der Nutzung dieses Onlineangebotes und der Internetnutzung verbundene Dienstleistungen,
+ uns gegenüber zu erbringen. Dabei können aus den verarbeiteten Daten pseudonyme Nutzungsprofile der Nutzer
+ erstellt werden.
+
+
+
+ Die {{ pageMetaData.awgProjectName }} setzt Google Analytics nur mit aktivierter IP-Anonymisierung ein. Das
+ bedeutet, die IP-Adresse der Nutzer wird von Google innerhalb von Mitgliedstaaten der Europäischen Union
+ oder in anderen Vertragsstaaten des Abkommens über den Europäischen Wirtschaftsraum gekürzt. Nur in
+ Ausnahmefällen wird die volle IP-Adresse an einen Server von Google in den USA übertragen und dort gekürzt.
+
+
+
+ Die von dem Browser des Nutzers übermittelte IP-Adresse wird nicht mit anderen Daten von Google
+ zusammengeführt. Die Nutzer können die Speicherung der Cookies durch eine entsprechende Einstellung ihrer
+ Browser-Software verhindern; die Nutzer können darüber hinaus die Erfassung der durch das Cookie erzeugten
+ und auf ihre Nutzung des Onlineangebotes bezogenen Daten an Google sowie die Verarbeitung dieser Daten durch
+ Google verhindern, indem sie das unter folgendem Link verfügbare Browser-Plugin herunterladen und
+ installieren:
+ https://tools.google.com/dlpage/gaoptout?hl=de.
+
+
+
+ Weitere Informationen zur Datennutzung durch Google, Einstellungs- und Widerspruchsmöglichkeiten, erfahren
+ Sie in der Datenschutzerklärung von Google (https://policies.google.com/technologies/ads) sowie in den Einstellungen für die Darstellung von Werbeeinblendungen durch Google (https://adssettings.google.com/authenticated).
+
+
+ Die personenbezogenen Daten der Nutzer werden nach 14 Monaten gelöscht.
+
+
+ [Erstellt mit Datenschutz-Generator.de von RA Dr. Thomas Schwenke; vom Websiteinhaber angepasst]
+
+
diff --git a/src/app/views/contact-view/contact-view.component.scss b/src/app/views/contact-view/contact-view.component.scss
index e69de29bb2..93f0f018fa 100644
--- a/src/app/views/contact-view/contact-view.component.scss
+++ b/src/app/views/contact-view/contact-view.component.scss
@@ -0,0 +1,4 @@
+.awg-contact-view {
+ text-align: justify;
+ text-justify: inter-word;
+}
diff --git a/src/app/views/contact-view/contact-view.component.spec.ts b/src/app/views/contact-view/contact-view.component.spec.ts
index 12b1cc71e5..8d5ca885f5 100644
--- a/src/app/views/contact-view/contact-view.component.spec.ts
+++ b/src/app/views/contact-view/contact-view.component.spec.ts
@@ -2,7 +2,6 @@
import { DatePipe } from '@angular/common';
import { Component, DebugElement, Input } from '@angular/core';
import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
-import { Router } from '@angular/router';
import Spy = jasmine.Spy;
@@ -16,7 +15,7 @@ import {
getAndExpectDebugElementByDirective,
} from '@testing/expect-helper';
-import { METADATA } from '@awg-core/core-data';
+import { META_DATA } from '@awg-core/core-data';
import { MetaContact, MetaPage, MetaSectionTypes } from '@awg-core/core-models';
import { CoreService } from '@awg-core/services';
@@ -36,11 +35,11 @@ describe('ContactViewComponent (DONE)', () => {
let fixture: ComponentFixture;
let compDe: DebugElement;
- let dateSpy: Spy;
- const datePipe = new DatePipe('en');
-
let mockCoreService: Partial;
- let mockRouter: Partial;
+
+ const datePipe = new DatePipe('en');
+ let dateSpy: Spy;
+ let provideMetaDataSpy: Spy;
let expectedToday;
let expectedPageMetaData: MetaPage;
@@ -56,17 +55,11 @@ describe('ContactViewComponent (DONE)', () => {
beforeEach(waitForAsync(() => {
// Mock service for test purposes
- mockCoreService = { getMetaDataSection: sectionType => METADATA[sectionType] };
-
- // Router spy object
- mockRouter = jasmine.createSpyObj('Router', ['navigate']);
+ mockCoreService = { getMetaDataSection: sectionType => META_DATA[sectionType] };
TestBed.configureTestingModule({
declarations: [ContactViewComponent, HeadingStubComponent],
- providers: [
- { provide: CoreService, useValue: mockCoreService },
- { provide: Router, useValue: mockRouter },
- ],
+ providers: [{ provide: CoreService, useValue: mockCoreService }],
}).compileComponents();
}));
@@ -76,14 +69,13 @@ describe('ContactViewComponent (DONE)', () => {
compDe = fixture.debugElement;
// Test data
- expectedPageMetaData = METADATA[MetaSectionTypes.page];
- expectedContactMetaData = METADATA[MetaSectionTypes.contact];
+ expectedPageMetaData = META_DATA[MetaSectionTypes.page];
+ expectedContactMetaData = META_DATA[MetaSectionTypes.contact];
// Spies on component functions
// `.and.callThrough` will track the spy down the nested describes, see
// https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
- spyOn(component, 'provideMetaData').and.callThrough();
- spyOn(component, 'routeToSidenav').and.callThrough();
+ provideMetaDataSpy = spyOn(component, 'provideMetaData').and.callThrough();
});
afterAll(() => {
@@ -125,53 +117,30 @@ describe('ContactViewComponent (DONE)', () => {
expect(component.today).toBeUndefined();
});
- describe('#routeToSidenav()', () => {
- it('... should have a method `routeToSidenav`', () => {
- expect(component.routeToSidenav).toBeDefined();
- });
-
- it('... should not have been called', () => {
- expect(component.routeToSidenav).not.toHaveBeenCalled();
- });
- });
-
describe('#provideMetaData()', () => {
it('... should have a method `provideMetaData`', () => {
expect(component.provideMetaData).toBeDefined();
});
it('... should not have been called', () => {
- expect(component.provideMetaData).not.toHaveBeenCalled();
+ expectSpyCall(provideMetaDataSpy, 0);
});
});
describe('VIEW', () => {
- it('... should contain 3 heading components (stubbed)', () => {
- getAndExpectDebugElementByDirective(compDe, HeadingStubComponent, 3, 3);
+ it('... should contain one `div.awg-contact-view`', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-contact-view', 1, 1);
});
- it('... should contain 1 `div.awg-citation-description` with 5 `p` elements', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-citation-description', 1, 1);
- getAndExpectDebugElementByCss(compDe, 'div.awg-citation-description > p', 5, 5);
- });
-
- it('... should contain 1 `div.awg-documentation-description` with 2 `p` elements', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-documentation-description', 1, 1);
- getAndExpectDebugElementByCss(compDe, 'div.awg-documentation-description > p', 2, 2);
- });
-
- it('... should contain 1 `div.awg-imprint-description` with 5 `p` elements', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-imprint-description', 1, 1);
- getAndExpectDebugElementByCss(compDe, 'div.awg-imprint-description > p', 5, 5);
- });
-
- it('... should contain 1 `div#awg-disclaimer` with 17 `p` elements', () => {
- getAndExpectDebugElementByCss(compDe, 'div#awg-disclaimer', 1, 1);
- getAndExpectDebugElementByCss(compDe, 'div#awg-disclaimer > p', 17, 17);
+ it('... should contain 3 heading components (stubbed) in `div.awg-contact-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-contact-view', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 3, 3);
});
it('... should not pass down `title` and `id` to heading components', () => {
- const headingDes = getAndExpectDebugElementByDirective(compDe, HeadingStubComponent, 3, 3);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-contact-view', 1, 1);
+
+ const headingDes = getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 3, 3);
const headingCmps = headingDes.map(de => de.injector.get(HeadingStubComponent) as HeadingStubComponent);
expect(headingCmps[0].title).toBeUndefined();
@@ -184,6 +153,30 @@ describe('ContactViewComponent (DONE)', () => {
expect(headingCmps[2].id).toBeUndefined();
});
+ it('... should contain 1 `div.awg-citation-description` with 5 `p` elements in `div.awg-contact-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-contact-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-citation-description', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-citation-description > p', 5, 5);
+ });
+
+ it('... should contain 1 `div.awg-documentation-description` with 2 `p` elements in `div.awg-contact-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-contact-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-documentation-description', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-documentation-description > p', 2, 2);
+ });
+
+ it('... should contain 1 `div.awg-imprint-description` with 5 `p` elements in `div.awg-contact-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-contact-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-imprint-description', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-imprint-description > p', 5, 5);
+ });
+
+ it('... should contain 1 `div#awg-disclaimer` with 17 `p` elements in `div.awg-contact-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-contact-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div#awg-disclaimer', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div#awg-disclaimer > p', 17, 17);
+ });
+
it('... should not render `version`, `versionReleaseDate` and `today` yet', () => {
// Debug elements
const versionDes = getAndExpectDebugElementByCss(compDe, '.awg-citation-version', 1, 1);
@@ -219,52 +212,14 @@ describe('ContactViewComponent (DONE)', () => {
fixture.detectChanges();
});
- describe('#routeToSideNav()', () => {
- let navigationSpy: Spy;
-
- beforeEach(() => {
- // Create spy of mockrouter SpyObj
- navigationSpy = mockRouter.navigate as jasmine.Spy;
- });
-
- it('... should have been called', () => {
- // Router navigation triggerd by onInit
- expect(component.routeToSidenav).toHaveBeenCalled();
- });
-
- it('... should have triggered `router.navigate`', () => {
- expect(navigationSpy).toHaveBeenCalled();
- expectToBe(navigationSpy.calls.any(), true);
- expectToBe(navigationSpy.calls.count(), 1);
- });
-
- it('... should tell ROUTER to navigate to `contactInfo` outlet', () => {
- const expectedRoute = 'contactInfo';
-
- // Catch args passed to navigation spy
- const navArgs = navigationSpy.calls.first().args;
- const outletRoute = navArgs[0][0].outlets.side;
-
- expect(navArgs).toBeDefined();
- expect(navArgs[0]).toBeDefined();
- expectToBe(outletRoute, expectedRoute);
- expect(navigationSpy).toHaveBeenCalledWith(navArgs[0], navArgs[1]);
- });
-
- it('... should tell ROUTER to navigate with `preserveFragment:true`', () => {
- // Catch args passed to navigation spy
- const navArgs = navigationSpy.calls.first().args;
- const navExtras = navArgs[1];
-
- expect(navExtras).toBeDefined();
- expectToBe(navExtras.preserveFragment, true);
- expect(navigationSpy).toHaveBeenCalledWith(navArgs[0], navArgs[1]);
- });
+ it('... should have `today`', () => {
+ expectSpyCall(dateSpy, 1);
+ expectToBe(component.today, expectedToday);
});
describe('#provideMetaData()', () => {
it('... should have been called', () => {
- expect(component.provideMetaData).toHaveBeenCalled();
+ expectSpyCall(provideMetaDataSpy, 1);
});
it('... should return metadata', () => {
@@ -273,14 +228,11 @@ describe('ContactViewComponent (DONE)', () => {
});
});
- it('... should have `today`', () => {
- expectSpyCall(dateSpy, 1);
- expectToBe(component.today, expectedToday);
- });
-
describe('VIEW', () => {
it('... should pass down `title` and `id` to heading components', () => {
- const headingDes = getAndExpectDebugElementByDirective(compDe, HeadingStubComponent, 3, 3);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-contact-view', 1, 1);
+
+ const headingDes = getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 3, 3);
const headingCmps = headingDes.map(de => de.injector.get(HeadingStubComponent) as HeadingStubComponent);
expectToBe(headingCmps[0].title, expectedCitationTitle);
diff --git a/src/app/views/contact-view/contact-view.component.ts b/src/app/views/contact-view/contact-view.component.ts
index 2790cb8808..3ab4796116 100644
--- a/src/app/views/contact-view/contact-view.component.ts
+++ b/src/app/views/contact-view/contact-view.component.ts
@@ -1,5 +1,4 @@
import { ChangeDetectionStrategy, Component, OnInit } from '@angular/core';
-import { Router } from '@angular/router';
import { MetaContact, MetaPage, MetaSectionTypes } from '@awg-core/core-models';
import { CoreService } from '@awg-core/services';
@@ -15,7 +14,7 @@ import { CoreService } from '@awg-core/services';
selector: 'awg-contact-view',
templateUrl: './contact-view.component.html',
styleUrls: ['./contact-view.component.scss'],
- changeDetection: ChangeDetectionStrategy.OnPush,
+ changeDetection: ChangeDetectionStrategy.Default,
})
export class ContactViewComponent implements OnInit {
/**
@@ -91,15 +90,11 @@ export class ContactViewComponent implements OnInit {
* Constructor of the ContactViewComponent.
*
* It declares a private CoreService instance
- * to get the metadata and a private Router instance.
+ * to get the metadata.
*
* @param {CoreService} coreService Instance of the CoreService.
- * @param {Router} router Instance of the Angular router.
*/
- constructor(
- private coreService: CoreService,
- private router: Router
- ) {}
+ constructor(private coreService: CoreService) {}
/**
* Angular life cycle hook: ngOnInit.
@@ -108,7 +103,6 @@ export class ContactViewComponent implements OnInit {
* when initializing the component.
*/
ngOnInit() {
- this.routeToSidenav();
this.provideMetaData();
this.today = Date.now();
}
@@ -125,19 +119,4 @@ export class ContactViewComponent implements OnInit {
this.pageMetaData = this.coreService.getMetaDataSection(MetaSectionTypes.page);
this.contactMetaData = this.coreService.getMetaDataSection(MetaSectionTypes.contact);
}
-
- /**
- * Public method: routeToSidenav.
- *
- * It activates the secondary outlet with the contact-info.
- *
- * @returns {void} Activates the contact-info side outlet.
- */
- routeToSidenav(): void {
- // Opens the side-info outlet while preserving the router fragment for scrolling
- this.router.navigate([{ outlets: { side: 'contactInfo' } }], {
- preserveFragment: true,
- queryParamsHandling: 'preserve',
- });
- }
}
diff --git a/src/app/views/data-view/data-outlets/resource-detail/resource-detail.component.html b/src/app/views/data-view/data-outlets/resource-detail/resource-detail.component.html
index ff441e429d..e6e746ef24 100644
--- a/src/app/views/data-view/data-outlets/resource-detail/resource-detail.component.html
+++ b/src/app/views/data-view/data-outlets/resource-detail/resource-detail.component.html
@@ -1,68 +1,69 @@
-
-
-@if (isLoading$ | async) {
-
-
@if (folio.isPage) {
- S.
+
} @else {
- Bl.
+
}
@if (
folio.folio.endsWith('v') || folio.folio.endsWith('r')
@@ -425,7 +422,9 @@
}
T. {{ measure }} {{
+ measure
+ }}
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-description/source-description.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-description/source-description.component.spec.ts
index 0e08a1b129..bcc7736c74 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-description/source-description.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-description/source-description.component.spec.ts
@@ -16,6 +16,7 @@ import { mockEditionData } from '@testing/mock-data';
import { RouterLinkStubDirective } from '@testing/router-stubs';
import { UtilityService } from '@awg-core/services';
+import { AbbrDirective } from '@awg-shared/abbr/abbr.directive';
import { CompileHtmlComponent } from '@awg-shared/compile-html';
import { EDITION_FIRM_SIGNS_DATA } from '@awg-views/edition-view/data';
import {
@@ -88,6 +89,7 @@ describe('SourceDescriptionComponent (DONE)', () => {
SourceDescriptionDetailsStubComponent,
SourceDescriptionCorrectionsStubComponent,
CompileHtmlComponent,
+ AbbrDirective,
RouterLinkStubDirective,
],
providers: [UtilityService],
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-list/source-list.component.html b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-list/source-list.component.html
index 15e9df778a..4ff7bdc3fc 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-list/source-list.component.html
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-list/source-list.component.html
@@ -44,7 +44,7 @@
-
+
}
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-list/source-list.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-list/source-list.component.spec.ts
index 745ba719a7..2017c2504e 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-list/source-list.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-report/source-list/source-list.component.spec.ts
@@ -10,6 +10,7 @@ import { expectSpyCall, expectToBe, expectToEqual, getAndExpectDebugElementByCss
import { mockEditionData } from '@testing/mock-data';
import { RouterLinkStubDirective } from '@testing/router-stubs';
+import { AbbrDirective } from '@awg-shared/abbr/abbr.directive';
import { CompileHtmlComponent } from '@awg-shared/compile-html';
import { SourceList } from '@awg-views/edition-view/models';
@@ -31,7 +32,7 @@ describe('SourceListComponent (DONE)', () => {
beforeEach(waitForAsync(() => {
TestBed.configureTestingModule({
imports: [RouterModule],
- declarations: [SourceListComponent, CompileHtmlComponent, RouterLinkStubDirective],
+ declarations: [SourceListComponent, CompileHtmlComponent, AbbrDirective, RouterLinkStubDirective],
}).compileComponents();
}));
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.html b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.html
index 804c398a17..77d2e7831c 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.html
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.html
@@ -1,6 +1,15 @@
{{ navItemLabel }}:
- @if (!utils.isNotEmptyArray(svgSheets)) {
+ @if (navItemLabel === 'Werkeditionen') {
+
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.spec.ts
index bffafe91b9..b2af1f259d 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.spec.ts
@@ -1,7 +1,11 @@
-import { DebugElement } from '@angular/core';
+import { DebugElement, NgModule } from '@angular/core';
import { ComponentFixture, fakeAsync, TestBed, waitForAsync } from '@angular/core/testing';
import Spy = jasmine.Spy;
+import { IconDefinition } from '@fortawesome/angular-fontawesome';
+import { FontAwesomeTestingModule } from '@fortawesome/angular-fontawesome/testing';
+import { faCalendarXmark } from '@fortawesome/free-solid-svg-icons';
+
import { clickAndAwaitChanges } from '@testing/click-helper';
import { detectChangesOnPush } from '@testing/detect-changes-on-push-helper';
import {
@@ -15,6 +19,7 @@ import { mockEditionData } from '@testing/mock-data';
import { EditionSvgSheet } from '@awg-views/edition-view/models';
+import { NgbConfig, NgbPopoverModule } from '@ng-bootstrap/ng-bootstrap';
import { EditionSvgSheetNavItemComponent } from './edition-svg-sheet-nav-item.component';
describe('EditionSvgSheetNavItemComponent (DONE)', () => {
@@ -22,7 +27,12 @@ describe('EditionSvgSheetNavItemComponent (DONE)', () => {
let fixture: ComponentFixture;
let compDe: DebugElement;
+ let selectSvgSheetSpy: Spy;
+ let selectSvgSheetRequestEmitSpy: Spy;
+
let expectedComplexId: string;
+ let expectedDisclaimerWorkEditions: string;
+ let expectedFaCalendarXmark: IconDefinition;
let expectedNextComplexId: string;
let expectedNavItemLabel: string;
let expectedSvgSheets: EditionSvgSheet[];
@@ -33,11 +43,18 @@ describe('EditionSvgSheetNavItemComponent (DONE)', () => {
let expectedSvgSheetWithPartialA: EditionSvgSheet;
let expectedNextSvgSheet: EditionSvgSheet;
- let selectSvgSheetSpy: Spy;
- let selectSvgSheetRequestEmitSpy: Spy;
+ // global NgbConfigModule
+ @NgModule({ imports: [NgbPopoverModule], exports: [NgbPopoverModule] })
+ class NgbConfigModule {
+ constructor(config: NgbConfig) {
+ // Set animations to false
+ config.animation = false;
+ }
+ }
beforeEach(waitForAsync(() => {
TestBed.configureTestingModule({
+ imports: [FontAwesomeTestingModule, NgbConfigModule],
declarations: [EditionSvgSheetNavItemComponent],
}).compileComponents();
}));
@@ -48,6 +65,9 @@ describe('EditionSvgSheetNavItemComponent (DONE)', () => {
compDe = fixture.debugElement;
// Test data
+ expectedDisclaimerWorkEditions =
+ 'Werkeditionen sind aus rechtlichen Gründen frühestens ab 2049 online verfügbar. Bis dahin konsultieren Sie bitte die entsprechende Printausgabe.';
+ expectedFaCalendarXmark = faCalendarXmark;
expectedNavItemLabel = 'Testeditionslabel';
expectedComplexId = 'testComplex1';
expectedNextComplexId = 'testComplex2';
@@ -85,6 +105,14 @@ describe('EditionSvgSheetNavItemComponent (DONE)', () => {
expect(component.selectedSvgSheet).toBeUndefined();
});
+ it('... should have disclaimerWorkEditions', () => {
+ expectToEqual(component.disclaimerWorkEditions, expectedDisclaimerWorkEditions);
+ });
+
+ it('... should have faCalendarXmark', () => {
+ expectToEqual(component.faCalendarXmark, expectedFaCalendarXmark);
+ });
+
describe('VIEW', () => {
it('... should contain 1 h6.card-title without navItemLabel (yet)', () => {
const headerDes = getAndExpectDebugElementByCss(compDe, 'h6.card-title', 1, 1);
@@ -131,9 +159,25 @@ describe('EditionSvgSheetNavItemComponent (DONE)', () => {
expectToBe(headerEl.textContent.trim(), expectedNavItemLabel + ':');
});
+ it('... should contain an text-danger xMark icon if navItemLabel=`Werkeditionen` ', () => {
+ component.navItemLabel = 'Werkeditionen';
+ detectChangesOnPush(fixture);
+
+ const headerDes = getAndExpectDebugElementByCss(compDe, 'h6.card-title', 1, 1);
+ const spanDes = getAndExpectDebugElementByCss(headerDes[0], 'span', 1, 1);
+ const spanEl = spanDes[0].nativeElement;
+
+ expectToContain(spanEl.classList, 'text-danger');
+
+ const faIconDes = getAndExpectDebugElementByCss(spanDes[0], 'fa-icon', 1, 1);
+ const faIconIns = faIconDes[0].componentInstance.icon;
+
+ expectToEqual(faIconIns, expectedFaCalendarXmark);
+ });
+
it('... should contain a span in h6.card-title with "---" if svgSheets is empty', () => {
component.svgSheets = [];
- fixture.detectChanges();
+ detectChangesOnPush(fixture);
const headerDes = getAndExpectDebugElementByCss(compDe, 'h6.card-title', 1, 1);
const spanDes = getAndExpectDebugElementByCss(headerDes[0], 'span', 1, 1);
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.ts b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.ts
index 73fee9a71b..06b6862c8d 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.ts
@@ -1,4 +1,5 @@
-import { Component, EventEmitter, Input, Output } from '@angular/core';
+import { ChangeDetectionStrategy, Component, EventEmitter, Input, Output } from '@angular/core';
+import { faCalendarXmark } from '@fortawesome/free-solid-svg-icons';
import { UtilityService } from '@awg-core/services';
import { EditionSvgSheet } from '@awg-views/edition-view/models';
@@ -14,6 +15,7 @@ import { EditionSvgSheet } from '@awg-views/edition-view/models';
selector: 'awg-edition-svg-sheet-nav-item',
templateUrl: './edition-svg-sheet-nav-item.component.html',
styleUrls: ['./edition-svg-sheet-nav-item.component.scss'],
+ changeDetection: ChangeDetectionStrategy.OnPush,
})
export class EditionSvgSheetNavItemComponent {
/**
@@ -48,6 +50,22 @@ export class EditionSvgSheetNavItemComponent {
@Output()
selectSvgSheetRequest: EventEmitter<{ complexId: string; sheetId: string }> = new EventEmitter();
+ /**
+ * Public variable: disclaimerWorkEditions.
+ *
+ *
+ * It keeps the disclaimer for work editions.
+ */
+ disclaimerWorkEditions =
+ 'Werkeditionen sind aus rechtlichen Gründen frühestens ab 2049 online verfügbar. Bis dahin konsultieren Sie bitte die entsprechende Printausgabe.';
+
+ /**
+ * Public variable: faCalendarXmark.
+ *
+ * It instantiates fontawesome's faCalendarXmark icon.
+ */
+ faCalendarXmark = faCalendarXmark;
+
/**
* Constructor of the EditionSvgSheetNavItemComponent.
*
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-sheets.component.html b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-sheets.component.html
index b08deaa0b6..b68e77abb4 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-sheets.component.html
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-sheets.component.html
@@ -9,7 +9,7 @@
} @else {
@if (errorObject) {
- ;
- let mockEditionService: Partial;
let mockEditionSheetsService: Partial;
+ let mockEditionStateService: Partial;
let editionDataServiceGetEditionSheetsDataSpy: Spy;
- let editionServiceGetSelectedEditionComplexSpy: Spy;
let editionSheetsServiceSelectSvgSheetByIdSpy: Spy;
let editionSheetsServiceSelectConvoluteSpy: Spy;
+ let editionStateServiceGetSelectedEditionComplexSpy: Spy;
let getEditionSheetsDataSpy: Spy;
let navigateToReportFragmentSpy: Spy;
let navigateWithComplexIdSpy: Spy;
@@ -162,7 +162,7 @@ describe('EditionSheetsComponent', () => {
editionComplex: EditionComplex
): Observable<(FolioConvoluteList | EditionSvgSheetList | TextcriticsList)[]> => observableOf([]),
};
- mockEditionService = {
+ mockEditionStateService = {
getSelectedEditionComplex: (): Observable => observableOf(),
};
mockEditionSheetsService = {
@@ -181,13 +181,13 @@ describe('EditionSheetsComponent', () => {
EditionSheetsComponent,
EditionConvoluteStubComponent,
EditionAccoladeStubComponent,
- ErrorAlertStubComponent,
+ AlertErrorStubComponent,
ModalStubComponent,
TwelveToneSpinnerStubComponent,
],
providers: [
{ provide: EditionDataService, useValue: mockEditionDataService },
- { provide: EditionService, useValue: mockEditionService },
+ { provide: EditionStateService, useValue: mockEditionStateService },
{ provide: Router, useValue: mockRouter },
{
provide: ActivatedRoute,
@@ -225,8 +225,8 @@ describe('EditionSheetsComponent', () => {
mockEditionDataService,
'getEditionSheetsData'
).and.returnValue(observableOf([expectedFolioConvoluteData, expectedSvgSheetsData, expectedTextcriticsData]));
- editionServiceGetSelectedEditionComplexSpy = spyOn(
- mockEditionService,
+ editionStateServiceGetSelectedEditionComplexSpy = spyOn(
+ mockEditionStateService,
'getSelectedEditionComplex'
).and.returnValue(observableOf(expectedEditionComplex));
editionSheetsServiceSelectSvgSheetByIdSpy = spyOn(
@@ -319,10 +319,10 @@ describe('EditionSheetsComponent', () => {
getAndExpectDebugElementByDirective(divDes[0], ModalStubComponent, 1, 1);
});
- it('... should not contain an error alert component (stubbed)', () => {
+ it('... should not contain an AlertErrorComponent (stubbed)', () => {
const divDes = getAndExpectDebugElementByCss(compDe, 'div', 1, 1);
- getAndExpectDebugElementByDirective(divDes[0], ErrorAlertStubComponent, 0, 0);
+ getAndExpectDebugElementByDirective(divDes[0], AlertErrorStubComponent, 0, 0);
});
it('... should not contain a loading spinner component (stubbed)', () => {
@@ -389,20 +389,20 @@ describe('EditionSheetsComponent', () => {
detectChangesOnPush(fixture);
}));
- it('... should not contain sheets view, but one ErrorAlertComponent (stubbed)', waitForAsync(() => {
+ it('... should not contain sheets view, but one AlertErrorComponent (stubbed)', waitForAsync(() => {
getAndExpectDebugElementByCss(compDe, 'div.awg-sheets-view', 0, 0);
const divDes = getAndExpectDebugElementByCss(compDe, 'div', 1, 1);
- getAndExpectDebugElementByDirective(divDes[0], ErrorAlertStubComponent, 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], AlertErrorStubComponent, 1, 1);
}));
- it('... should pass down error object to ErrorAlertComponent', waitForAsync(() => {
- const errorAlertDes = getAndExpectDebugElementByDirective(compDe, ErrorAlertStubComponent, 1, 1);
- const errorAlertCmp = errorAlertDes[0].injector.get(
- ErrorAlertStubComponent
- ) as ErrorAlertStubComponent;
+ it('... should pass down error object to AlertErrorComponent', waitForAsync(() => {
+ const alertErrorDes = getAndExpectDebugElementByDirective(compDe, AlertErrorStubComponent, 1, 1);
+ const alertErrorCmp = alertErrorDes[0].injector.get(
+ AlertErrorStubComponent
+ ) as AlertErrorStubComponent;
- expectToEqual(errorAlertCmp.errorObject, expectedError);
+ expectToEqual(alertErrorCmp.errorObject, expectedError);
}));
});
@@ -413,7 +413,7 @@ describe('EditionSheetsComponent', () => {
detectChangesOnPush(fixture);
getAndExpectDebugElementByCss(compDe, 'div.awg-sheets-view', 0, 0);
- getAndExpectDebugElementByDirective(compDe, ErrorAlertStubComponent, 0, 0);
+ getAndExpectDebugElementByDirective(compDe, AlertErrorStubComponent, 0, 0);
getAndExpectDebugElementByDirective(compDe, TwelveToneSpinnerStubComponent, 1, 1);
});
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-sheets.component.ts b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-sheets.component.ts
index 8d12768c0a..bed8bd9264 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-sheets.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-sheets.component.ts
@@ -18,7 +18,7 @@ import {
Textcritics,
TextcriticsList,
} from '@awg-views/edition-view/models';
-import { EditionDataService, EditionService, EditionSheetsService } from '@awg-views/edition-view/services';
+import { EditionDataService, EditionSheetsService, EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionSheets component.
@@ -144,12 +144,12 @@ export class EditionSheetsComponent implements OnInit, OnDestroy {
* Constructor of the EditionSheetsComponent.
*
* It declares private instances of
- * EditionDataService, EditionSheetsService, EditionService, UtilityService,
+ * EditionDataService, EditionSheetsService, EditionStateService, UtilityService,
* ActivatedRoute and Router.
*
* @param {EditionDataService} editionDataService Instance of the EditionDataService.
* @param {EditionSheetsService} editionSheetsService Instance of the EditionSheetsService.
- * @param {EditionService} editionService Instance of the EditionService.
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
* @param {UtilityService} utils Instance of the UtilityService.
* @param {ActivatedRoute} route Instance of the Angular ActivatedRoute.
* @param {Router} router Instance of the Angular Router.
@@ -157,7 +157,7 @@ export class EditionSheetsComponent implements OnInit, OnDestroy {
constructor(
private editionDataService: EditionDataService,
private editionSheetsService: EditionSheetsService,
- private editionService: EditionService,
+ private editionStateService: EditionStateService,
private utils: UtilityService,
private route: ActivatedRoute,
private router: Router
@@ -361,7 +361,7 @@ export class EditionSheetsComponent implements OnInit, OnDestroy {
queryParams: ParamMap
): Observable {
this.isLoading = true;
- return this.editionService.getSelectedEditionComplex().pipe(
+ return this.editionStateService.getSelectedEditionComplex().pipe(
// Set editionComplex
tap((complex: EditionComplex) => (this.editionComplex = complex)),
// Get editionSheetsData
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-tka/edition-tka-table/edition-tka-table.component.html b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-tka/edition-tka-table/edition-tka-table.component.html
index b1d6a69a5f..adca25b4b0 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-tka/edition-tka-table/edition-tka-table.component.html
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-tka/edition-tka-table/edition-tka-table.component.html
@@ -12,7 +12,7 @@
@for (textcriticalCommentBlock of textcriticalCommentBlocks; track $index) {
@if (textcriticalCommentBlock.blockHeader) {
-
+
@@ -20,8 +20,8 @@
}
@for (textcriticalComment of textcriticalCommentBlock.blockComments; track $index) {
-
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-tka/edition-tka-table/edition-tka-table.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-tka/edition-tka-table/edition-tka-table.component.spec.ts
index f777ee1e9d..b9adf7c9fc 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-tka/edition-tka-table/edition-tka-table.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-tka/edition-tka-table/edition-tka-table.component.spec.ts
@@ -15,6 +15,7 @@ import {
} from '@testing/expect-helper';
import { mockEditionData } from '@testing/mock-data';
+import { AbbrDirective } from '@awg-shared/abbr/abbr.directive';
import { CompileHtmlComponent } from '@awg-shared/compile-html';
import { EDITION_GLYPHS_DATA } from '@awg-views/edition-view/data';
import { EditionSvgSheet, TextcriticalCommentBlock, TkaTableHeaderColumn } from '@awg-views/edition-view/models';
@@ -51,7 +52,7 @@ describe('EditionTkaTableComponent (DONE)', () => {
beforeEach(waitForAsync(() => {
TestBed.configureTestingModule({
- declarations: [EditionTkaTableComponent, CompileHtmlComponent],
+ declarations: [EditionTkaTableComponent, AbbrDirective, CompileHtmlComponent],
}).compileComponents();
}));
diff --git a/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.html b/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.html
index b3f868decd..54cc6db787 100644
--- a/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.html
+++ b/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.html
@@ -1,10 +1,7 @@
@if (prefaceData$ | async; as prefaceData) {
-
+
+
@for (prefaceParagraph of prefaceData.preface[currentLanguage].content; track $index) {
}
diff --git a/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.scss b/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.scss
index 6e7b967216..5ca701fec8 100644
--- a/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.scss
+++ b/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.scss
@@ -1,32 +1,8 @@
-@import '/src/assets/themes/scss/shared';
-
-.awg-language-switcher {
- font-family: 'Montserrat', sans-serif;
- font-size: small;
- text-align: end;
-
- a {
- cursor: pointer;
- text-decoration: none;
- color: inherit;
- // disable the active link style
- &.active,
- &.active:hover {
- cursor: default;
- color: inherit;
- }
- &:not(.active) {
- color: $link-color;
- }
- &:hover {
- border-bottom: none !important;
- }
- }
-}
-
.awg-preface-para {
margin: 0;
text-indent: 25px;
+ text-align: justify;
+ text-justify: inter-word;
&::ng-deep {
.heading {
diff --git a/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.spec.ts
index 4538060440..b1fb235143 100644
--- a/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.spec.ts
@@ -1,27 +1,34 @@
-import { DebugElement } from '@angular/core';
-import { ComponentFixture, fakeAsync, TestBed, waitForAsync } from '@angular/core/testing';
+import { Component, DebugElement, EventEmitter, Input, Output } from '@angular/core';
+import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
import { lastValueFrom, Observable, of as observableOf, ReplaySubject } from 'rxjs';
import Spy = jasmine.Spy;
-import { clickAndAwaitChanges } from '@testing/click-helper';
import { detectChangesOnPush } from '@testing/detect-changes-on-push-helper';
import {
expectSpyCall,
expectToBe,
- expectToContain,
expectToEqual,
getAndExpectDebugElementByCss,
+ getAndExpectDebugElementByDirective,
} from '@testing/expect-helper';
import { mockEditionData } from '@testing/mock-data';
import { CompileHtmlComponent } from '@awg-shared/compile-html';
import { EDITION_GLYPHS_DATA } from '@awg-views/edition-view/data';
import { PrefaceList } from '@awg-views/edition-view/models';
-import { EditionDataService, EditionService } from '@awg-views/edition-view/services';
+import { EditionDataService, EditionStateService } from '@awg-views/edition-view/services';
import { EditionPrefaceComponent } from './edition-preface.component';
+// Mock components
+@Component({ selector: 'awg-language-switcher', template: '' })
+class LanguageSwitcherStubComponent {
+ @Input()
+ currentLanguage: number;
+ @Output() languageChangeRequest = new EventEmitter();
+}
+
describe('EditionPrefaceComponent (DONE)', () => {
let component: EditionPrefaceComponent;
let fixture: ComponentFixture;
@@ -29,20 +36,21 @@ describe('EditionPrefaceComponent (DONE)', () => {
let getGlyphSpy: Spy;
let setLanguageSpy: Spy;
- let editionServiceUpdateIsPrefaceViewSpy: Spy;
- let editionServiceClearIsPrefaceViewSpy: Spy;
let editionDataServiceGetPrefaceDataSpy: Spy;
+ let editionStateServiceUpdateIsPrefaceViewSpy: Spy;
+ let editionStateServiceClearIsPrefaceViewSpy: Spy;
- let mockEditionService: Partial;
+ let mockEditionStateService: Partial;
let mockEditionDataService: Partial;
let mockIsPrefaceViewSubject: ReplaySubject;
let expectedPrefaceData: PrefaceList;
+ let expectedCurrentLanguage: number;
beforeEach(async () => {
mockIsPrefaceViewSubject = new ReplaySubject(1);
- mockEditionService = {
+ mockEditionStateService = {
updateIsPrefaceView: (isView: boolean): void => mockIsPrefaceViewSubject.next(isView),
clearIsPrefaceView: (): void => mockIsPrefaceViewSubject.next(null),
};
@@ -52,10 +60,10 @@ describe('EditionPrefaceComponent (DONE)', () => {
};
await TestBed.configureTestingModule({
- declarations: [CompileHtmlComponent, EditionPrefaceComponent],
+ declarations: [CompileHtmlComponent, EditionPrefaceComponent, LanguageSwitcherStubComponent],
providers: [
- { provide: EditionService, useValue: mockEditionService },
{ provide: EditionDataService, useValue: mockEditionDataService },
+ { provide: EditionStateService, useValue: mockEditionStateService },
],
}).compileComponents();
});
@@ -65,20 +73,27 @@ describe('EditionPrefaceComponent (DONE)', () => {
component = fixture.componentInstance;
compDe = fixture.debugElement;
- mockEditionService = TestBed.inject(EditionService);
+ mockEditionStateService = TestBed.inject(EditionStateService);
mockEditionDataService = TestBed.inject(EditionDataService);
// Test data
expectedPrefaceData = JSON.parse(JSON.stringify(mockEditionData.mockPrefaceData));
+ expectedCurrentLanguage = 0;
// Spies on component functions
// `.and.callThrough` will track the spy down the nested describes, see
// https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
getGlyphSpy = spyOn(component, 'getGlyph').and.callThrough();
setLanguageSpy = spyOn(component, 'setLanguage').and.callThrough();
- editionServiceUpdateIsPrefaceViewSpy = spyOn(mockEditionService, 'updateIsPrefaceView').and.callThrough();
- editionServiceClearIsPrefaceViewSpy = spyOn(mockEditionService, 'clearIsPrefaceView').and.callThrough();
editionDataServiceGetPrefaceDataSpy = spyOn(mockEditionDataService, 'getEditionPrefaceData').and.callThrough();
+ editionStateServiceUpdateIsPrefaceViewSpy = spyOn(
+ mockEditionStateService,
+ 'updateIsPrefaceView'
+ ).and.callThrough();
+ editionStateServiceClearIsPrefaceViewSpy = spyOn(
+ mockEditionStateService,
+ 'clearIsPrefaceView'
+ ).and.callThrough();
});
it('... should create', () => {
@@ -91,7 +106,7 @@ describe('EditionPrefaceComponent (DONE)', () => {
});
it('... should have `currentLanguage` = 0', () => {
- expectToBe(component.currentLanguage, 0);
+ expectToBe(component.currentLanguage, expectedCurrentLanguage);
});
it('... should have `GLYPHS`', () => {
@@ -102,8 +117,8 @@ describe('EditionPrefaceComponent (DONE)', () => {
expectToEqual(component.ref, component);
});
- it('... should not have called EditionService', () => {
- expectSpyCall(editionServiceUpdateIsPrefaceViewSpy, 0);
+ it('... should not have called EditionStateService', () => {
+ expectSpyCall(editionStateServiceUpdateIsPrefaceViewSpy, 0);
});
it('... should not have called EditionDataService', () => {
@@ -114,6 +129,10 @@ describe('EditionPrefaceComponent (DONE)', () => {
it('... should contain no outer div.row (yet)', () => {
getAndExpectDebugElementByCss(compDe, 'div.row', 0, 0);
});
+
+ it('... should not contain language switcher component (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, LanguageSwitcherStubComponent, 0, 0);
+ });
});
});
@@ -123,8 +142,8 @@ describe('EditionPrefaceComponent (DONE)', () => {
fixture.detectChanges();
});
- it('... should have updated IsPrefaceViewFlag (via EditionService)', () => {
- expectSpyCall(editionServiceUpdateIsPrefaceViewSpy, 1, true);
+ it('... should have updated IsPrefaceViewFlag (via EditionStateService)', () => {
+ expectSpyCall(editionStateServiceUpdateIsPrefaceViewSpy, 1, true);
});
it('... should have called EditionDataService', () => {
@@ -141,86 +160,20 @@ describe('EditionPrefaceComponent (DONE)', () => {
getAndExpectDebugElementByCss(compDe, 'div.awg-preface-view', 1, 1);
});
- it('... should contain 1 language-switcher paragraph', () => {
- getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
- });
-
- it('... should contain 2 language-switcher anchor elements (DE | EN)', () => {
- const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
- const pEl = pDes[0].nativeElement;
-
- expectToBe(pEl.textContent, 'DE | EN');
-
- const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
- const aEl1 = aDes[0].nativeElement;
- const aEl2 = aDes[1].nativeElement;
+ it('... should contain one language switcher component (stubbed) in div.awg-preface-view', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-preface-view', 1, 1);
- expectToBe(aEl1.textContent, 'DE');
- expectToBe(aEl2.textContent, 'EN');
+ getAndExpectDebugElementByDirective(divDes[0], LanguageSwitcherStubComponent, 1, 1);
});
- it('... should trigger `setLanguage` method on anchor click', fakeAsync(() => {
- const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
- const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+ it('... should pass down `currentLanguage` to language switcher component', () => {
+ const switcherDes = getAndExpectDebugElementByDirective(compDe, LanguageSwitcherStubComponent, 1, 1);
+ const switcherCmp = switcherDes[0].injector.get(
+ LanguageSwitcherStubComponent
+ ) as LanguageSwitcherStubComponent;
- // Trigger click with click helper & wait for changes
- clickAndAwaitChanges(aDes[0], fixture);
-
- expectSpyCall(setLanguageSpy, 1);
-
- // Trigger click with click helper & wait for changes
- clickAndAwaitChanges(aDes[1], fixture);
-
- expectSpyCall(setLanguageSpy, 2);
- }));
-
- it('... should set currentLanguage to 0 when clicking on first anchor', fakeAsync(() => {
- const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
- const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
-
- // Click on first anchor
- clickAndAwaitChanges(aDes[0], fixture);
-
- expectToBe(component.currentLanguage, 0);
- }));
-
- it('... should set currentLanguage to 1 when clicking on second anchor', fakeAsync(() => {
- const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
- const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
-
- // Click on second anchor
- clickAndAwaitChanges(aDes[1], fixture);
-
- expectToBe(component.currentLanguage, 1);
- }));
-
- it('... should have .active class on first anchor element when currentLanguage is 0', fakeAsync(() => {
- const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
- const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
-
- // Click on first anchor
- clickAndAwaitChanges(aDes[0], fixture);
-
- const aEl0 = aDes[0].nativeElement;
- const aEl1 = aDes[1].nativeElement;
-
- expectToContain(aEl0.classList, 'active');
- expect(aEl1.classList).not.toContain('active');
- }));
-
- it('... should have .active class on second anchor element when currentLanguage is 1', fakeAsync(() => {
- const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
- const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
-
- // Click on second anchor
- clickAndAwaitChanges(aDes[1], fixture);
-
- const aEl0 = aDes[0].nativeElement;
- const aEl1 = aDes[1].nativeElement;
-
- expect(aEl0.classList).not.toContain('active');
- expectToContain(aEl1.classList, 'active');
- }));
+ expectToEqual(switcherCmp.currentLanguage, expectedCurrentLanguage);
+ });
it('... should contain as many preface paragraph elements in div.awg-preface-view as content items in preview data (german)', () => {
// Div debug element
@@ -282,20 +235,22 @@ describe('EditionPrefaceComponent (DONE)', () => {
expect(component.setLanguage).toBeDefined();
});
- it('... should trigger on click', fakeAsync(() => {
- const pDes = getAndExpectDebugElementByCss(compDe, 'p.awg-language-switcher', 1, 1);
- const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 2, 2);
+ it('... should trigger on event from LanguageSwitcherComponent', () => {
+ const switcherDes = getAndExpectDebugElementByDirective(compDe, LanguageSwitcherStubComponent, 1, 1);
+ const switcherCmp = switcherDes[0].injector.get(
+ LanguageSwitcherStubComponent
+ ) as LanguageSwitcherStubComponent;
- // Trigger click with click helper & wait for changes
- clickAndAwaitChanges(aDes[0], fixture);
+ // Language = 0
+ switcherCmp.languageChangeRequest.emit(0);
- expectSpyCall(setLanguageSpy, 1);
+ expectSpyCall(setLanguageSpy, 1, 0);
- // Trigger click with click helper & wait for changes
- clickAndAwaitChanges(aDes[1], fixture);
+ // Language = 1
+ switcherCmp.languageChangeRequest.emit(1);
- expectSpyCall(setLanguageSpy, 2);
- }));
+ expectSpyCall(setLanguageSpy, 2, 1);
+ });
it('... should set the currentLanguage to 0 when called with 0', () => {
component.setLanguage(0);
@@ -311,10 +266,10 @@ describe('EditionPrefaceComponent (DONE)', () => {
});
describe('#ngOnDestroy()', () => {
- it('... should have cleared isPrefaceView$ on destroy (via EditionService)', () => {
+ it('... should have cleared isPrefaceView$ on destroy (via EditionStateService)', () => {
component.ngOnDestroy();
- expectSpyCall(editionServiceClearIsPrefaceViewSpy, 1);
+ expectSpyCall(editionStateServiceClearIsPrefaceViewSpy, 1);
});
});
});
diff --git a/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.ts b/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.ts
index 21bc53b7b1..3c0548fa3e 100644
--- a/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-preface/edition-preface.component.ts
@@ -3,7 +3,7 @@ import { Observable } from 'rxjs';
import { EDITION_GLYPHS_DATA } from '@awg-views/edition-view/data';
import { PrefaceList } from '@awg-views/edition-view/models';
-import { EditionDataService, EditionService } from '@awg-views/edition-view/services';
+import { EditionDataService, EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionPreface component.
@@ -46,14 +46,14 @@ export class EditionPrefaceComponent implements OnInit, OnDestroy {
/**
* Constructor of the EditionPrefaceComponent.
*
- * It declares private instances of the EditionService and EditionDataService
+ * It declares private instances of the EditionStateService and EditionDataService
* and the self-referring ref variable needed for CompileHtml library.
*
- * @param {EditionService} editionService Instance of the EditionService.
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
* @param {EditionDataService} editionDataService Instance of the EditionDataService.
*/
constructor(
- private editionService: EditionService,
+ private editionStateService: EditionStateService,
private editionDataService: EditionDataService
) {
this.ref = this;
@@ -66,7 +66,7 @@ export class EditionPrefaceComponent implements OnInit, OnDestroy {
* when initializing the component.
*/
ngOnInit(): void {
- this.editionService.updateIsPrefaceView(true);
+ this.editionStateService.updateIsPrefaceView(true);
this.prefaceData$ = this.editionDataService.getEditionPrefaceData();
}
@@ -104,6 +104,6 @@ export class EditionPrefaceComponent implements OnInit, OnDestroy {
* Destroys subscriptions.
*/
ngOnDestroy() {
- this.editionService.clearIsPrefaceView();
+ this.editionStateService.clearIsPrefaceView();
}
}
diff --git a/src/app/views/edition-view/edition-outlets/edition-row-tables/edition-row-tables.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-row-tables/edition-row-tables.component.spec.ts
index 53096cd84d..2d1c3314b7 100644
--- a/src/app/views/edition-view/edition-outlets/edition-row-tables/edition-row-tables.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-row-tables/edition-row-tables.component.spec.ts
@@ -16,7 +16,7 @@ import {
import { RouterLinkStubDirective } from '@testing/router-stubs';
import { EditionRowTablesList } from '@awg-views/edition-view/models';
-import { EditionDataService, EditionService } from '@awg-views/edition-view/services';
+import { EditionDataService, EditionStateService } from '@awg-views/edition-view/services';
import { mockEditionData } from '@testing/mock-data';
import { EditionRowTablesComponent } from './edition-row-tables.component';
@@ -29,11 +29,11 @@ describe('EditionRowTablesComponent (DONE)', () => {
let linkDes: DebugElement[];
let routerLinks;
- let editionServiceUpdateIsRowTablesViewSpy: Spy;
- let editionServiceClearIsRowTablesViewSpy: Spy;
let editionDataServiceGetRowTablesDataSpy: Spy;
+ let editionStateServiceUpdateIsRowTablesViewSpy: Spy;
+ let editionStateServiceClearIsRowTablesViewSpy: Spy;
- let mockEditionService: Partial;
+ let mockEditionStateService: Partial;
let mockEditionDataService: Partial;
let mockIsRowTableViewSubject: ReplaySubject;
@@ -42,8 +42,8 @@ describe('EditionRowTablesComponent (DONE)', () => {
beforeEach(async () => {
mockIsRowTableViewSubject = new ReplaySubject(1);
- // Mock edition service
- mockEditionService = {
+ // Mock edition state service
+ mockEditionStateService = {
updateIsRowTableView: (isView: boolean): void => mockIsRowTableViewSubject.next(isView),
clearIsRowTableView: (): void => mockIsRowTableViewSubject.next(null),
};
@@ -56,8 +56,8 @@ describe('EditionRowTablesComponent (DONE)', () => {
await TestBed.configureTestingModule({
declarations: [EditionRowTablesComponent, RouterLinkStubDirective],
providers: [
- { provide: EditionService, useValue: mockEditionService },
{ provide: EditionDataService, useValue: mockEditionDataService },
+ { provide: EditionStateService, useValue: mockEditionStateService },
],
}).compileComponents();
});
@@ -67,7 +67,7 @@ describe('EditionRowTablesComponent (DONE)', () => {
component = fixture.componentInstance;
compDe = fixture.debugElement;
- mockEditionService = TestBed.inject(EditionService);
+ mockEditionStateService = TestBed.inject(EditionStateService);
mockEditionDataService = TestBed.inject(EditionDataService);
// Test data
@@ -76,12 +76,18 @@ describe('EditionRowTablesComponent (DONE)', () => {
// Spies on component functions
// `.and.callThrough` will track the spy down the nested describes, see
// https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
- editionServiceUpdateIsRowTablesViewSpy = spyOn(mockEditionService, 'updateIsRowTableView').and.callThrough();
- editionServiceClearIsRowTablesViewSpy = spyOn(mockEditionService, 'clearIsRowTableView').and.callThrough();
editionDataServiceGetRowTablesDataSpy = spyOn(
mockEditionDataService,
'getEditionRowTablesData'
).and.callThrough();
+ editionStateServiceUpdateIsRowTablesViewSpy = spyOn(
+ mockEditionStateService,
+ 'updateIsRowTableView'
+ ).and.callThrough();
+ editionStateServiceClearIsRowTablesViewSpy = spyOn(
+ mockEditionStateService,
+ 'clearIsRowTableView'
+ ).and.callThrough();
});
it('... should create', () => {
@@ -93,8 +99,8 @@ describe('EditionRowTablesComponent (DONE)', () => {
expect(component.rowTablesData$).toBeUndefined();
});
- it('... should not have called EditionService', () => {
- expectSpyCall(editionServiceUpdateIsRowTablesViewSpy, 0);
+ it('... should not have called EditionStateService', () => {
+ expectSpyCall(editionStateServiceUpdateIsRowTablesViewSpy, 0);
});
it('... should not have called EditionDataService', () => {
@@ -114,8 +120,8 @@ describe('EditionRowTablesComponent (DONE)', () => {
fixture.detectChanges();
});
- it('... should have updated IsRowTableViewFlag (via EditionService)', () => {
- expectSpyCall(editionServiceUpdateIsRowTablesViewSpy, 1, true);
+ it('... should have updated IsRowTableViewFlag (via EditionStateService)', () => {
+ expectSpyCall(editionStateServiceUpdateIsRowTablesViewSpy, 1, true);
});
it('... should have called EditionDataService', () => {
@@ -311,10 +317,10 @@ describe('EditionRowTablesComponent (DONE)', () => {
});
describe('#ngOnDestroy()', () => {
- it('... should have cleared isRowTableView$ on destroy (via EditionService)', () => {
+ it('... should have cleared isRowTableView$ on destroy (via EditionStateService)', () => {
component.ngOnDestroy();
- expectSpyCall(editionServiceClearIsRowTablesViewSpy, 1);
+ expectSpyCall(editionStateServiceClearIsRowTablesViewSpy, 1);
});
});
});
diff --git a/src/app/views/edition-view/edition-outlets/edition-row-tables/edition-row-tables.component.ts b/src/app/views/edition-view/edition-outlets/edition-row-tables/edition-row-tables.component.ts
index e54744d0d3..41c2881f75 100644
--- a/src/app/views/edition-view/edition-outlets/edition-row-tables/edition-row-tables.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-row-tables/edition-row-tables.component.ts
@@ -2,7 +2,7 @@ import { Component, OnDestroy, OnInit } from '@angular/core';
import { Observable } from 'rxjs';
import { EditionRowTablesList } from '@awg-views/edition-view/models';
-import { EditionDataService, EditionService } from '@awg-views/edition-view/services';
+import { EditionDataService, EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionRowTables component.
@@ -26,13 +26,13 @@ export class EditionRowTablesComponent implements OnDestroy, OnInit {
/**
* Constructor of the EditionRowTablesComponent.
*
- * It declares private instances of the EditionService and EditionDataService.
+ * It declares private instances of the EditionStateService and EditionDataService.
*
- * @param {EditionService} editionService Instance of the EditionService.
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
* @param {EditionDataService} editionDataService Instance of the EditionDataService.
*/
constructor(
- private editionService: EditionService,
+ private editionStateService: EditionStateService,
private editionDataService: EditionDataService
) {}
@@ -43,7 +43,7 @@ export class EditionRowTablesComponent implements OnDestroy, OnInit {
* when initializing the component.
*/
ngOnInit(): void {
- this.editionService.updateIsRowTableView(true);
+ this.editionStateService.updateIsRowTableView(true);
this.rowTablesData$ = this.editionDataService.getEditionRowTablesData();
}
@@ -56,6 +56,6 @@ export class EditionRowTablesComponent implements OnDestroy, OnInit {
* Destroys subscriptions.
*/
ngOnDestroy() {
- this.editionService.clearIsRowTableView();
+ this.editionStateService.clearIsRowTableView();
}
}
diff --git a/src/app/views/edition-view/edition-complex-card/edition-complex-card.component.html b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.html
similarity index 100%
rename from src/app/views/edition-view/edition-complex-card/edition-complex-card.component.html
rename to src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.html
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.scss b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.scss
new file mode 100644
index 0000000000..e69de29bb2
diff --git a/src/app/views/edition-view/edition-complex-card/edition-complex-card.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.spec.ts
similarity index 96%
rename from src/app/views/edition-view/edition-complex-card/edition-complex-card.component.spec.ts
rename to src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.spec.ts
index 340b9bcd51..65df74d884 100644
--- a/src/app/views/edition-view/edition-complex-card/edition-complex-card.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.spec.ts
@@ -13,11 +13,11 @@ import { RouterLinkStubDirective } from '@testing/router-stubs';
import { EditionOutlineComplexItem } from '@awg-views/edition-view/models';
import { EditionComplexesService } from '@awg-views/edition-view/services';
-import { EditionComplexCardComponent } from './edition-complex-card.component';
+import { EditionSectionDetailComplexCardComponent } from './edition-section-detail-complex-card.component';
-describe('EditionComplexCardComponent (DONE)', () => {
- let component: EditionComplexCardComponent;
- let fixture: ComponentFixture;
+describe('EditionSectionDetailComplexCardComponent (DONE)', () => {
+ let component: EditionSectionDetailComplexCardComponent;
+ let fixture: ComponentFixture;
let compDe: DebugElement;
let linkDes: DebugElement[];
@@ -31,12 +31,12 @@ describe('EditionComplexCardComponent (DONE)', () => {
beforeEach(async () => {
await TestBed.configureTestingModule({
- declarations: [EditionComplexCardComponent, RouterLinkStubDirective],
+ declarations: [EditionSectionDetailComplexCardComponent, RouterLinkStubDirective],
}).compileComponents();
});
beforeEach(() => {
- fixture = TestBed.createComponent(EditionComplexCardComponent);
+ fixture = TestBed.createComponent(EditionSectionDetailComplexCardComponent);
component = fixture.componentInstance;
compDe = fixture.debugElement;
diff --git a/src/app/views/edition-view/edition-complex-card/edition-complex-card.component.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.ts
similarity index 61%
rename from src/app/views/edition-view/edition-complex-card/edition-complex-card.component.ts
rename to src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.ts
index 7b56a002d1..fdd6c6f183 100644
--- a/src/app/views/edition-view/edition-complex-card/edition-complex-card.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/edition-section-detail-complex-card.component.ts
@@ -3,18 +3,18 @@ import { ChangeDetectionStrategy, Component, Input } from '@angular/core';
import { EditionOutlineComplexItem } from '@awg-views/edition-view/models';
/**
- * The EditionComplexCard component.
+ * The EditionSectionDetailComplexCard component.
*
* It contains the card style view of an edition complex
* for the edition view of the app.
*/
@Component({
- selector: 'awg-edition-complex-card',
- templateUrl: './edition-complex-card.component.html',
- styleUrls: ['./edition-complex-card.component.scss'],
+ selector: 'awg-edition-section-detail-complex-card',
+ templateUrl: './edition-section-detail-complex-card.component.html',
+ styleUrls: ['./edition-section-detail-complex-card.component.scss'],
changeDetection: ChangeDetectionStrategy.OnPush,
})
-export class EditionComplexCardComponent {
+export class EditionSectionDetailComplexCardComponent {
/**
* Input variable: complexes.
*
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/index.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/index.ts
new file mode 100644
index 0000000000..5864d44acf
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-complex-card/index.ts
@@ -0,0 +1 @@
+export * from './edition-section-detail-complex-card.component';
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/edition-section-detail-disclaimer.component.html b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/edition-section-detail-disclaimer.component.html
new file mode 100644
index 0000000000..f50c9e0004
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/edition-section-detail-disclaimer.component.html
@@ -0,0 +1,4 @@
+;
+ let compDe: DebugElement;
+
+ let expectedInfoMessage: string;
+
+ beforeEach(async () => {
+ await TestBed.configureTestingModule({
+ declarations: [EditionSectionDetailDisclaimerComponent, AlertInfoStubComponent],
+ }).compileComponents();
+
+ fixture = TestBed.createComponent(EditionSectionDetailDisclaimerComponent);
+ component = fixture.componentInstance;
+ compDe = fixture.debugElement;
+
+ // Test data
+ expectedInfoMessage = `Die Online-Edition wird in Bezug auf Umfang und Funktionalität kontinuierlich erweitert.`;
+ });
+
+ afterAll(() => {
+ cleanStylesFromDOM();
+ });
+
+ it('should create', () => {
+ expect(component).toBeTruthy();
+ });
+
+ describe('BEFORE initial data binding', () => {
+ describe('VIEW', () => {
+ it('... should contain an AlertInfoComponent (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, AlertInfoStubComponent, 1, 1);
+ });
+
+ it('... should not pass down infoMessage to AlertInfoComponent yet', () => {
+ const alertInfoDes = getAndExpectDebugElementByDirective(compDe, AlertInfoStubComponent, 1, 1);
+ const alertInfoCmp = alertInfoDes[0].injector.get(AlertInfoStubComponent) as AlertInfoStubComponent;
+
+ expect(alertInfoCmp.infoMessage).toBeUndefined();
+ });
+ });
+ });
+
+ describe('AFTER initial data binding', () => {
+ beforeEach(() => {
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ describe('VIEW', () => {
+ it('... should pass down infoMessage to AlertInfoComponent', () => {
+ const alertInfoDes = getAndExpectDebugElementByDirective(compDe, AlertInfoStubComponent, 1, 1);
+ const alertInfoCmp = alertInfoDes[0].injector.get(AlertInfoStubComponent) as AlertInfoStubComponent;
+
+ expectToEqual(alertInfoCmp.infoMessage, expectedInfoMessage);
+ });
+ });
+ });
+});
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/edition-section-detail-disclaimer.component.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/edition-section-detail-disclaimer.component.ts
new file mode 100644
index 0000000000..533f3b9916
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/edition-section-detail-disclaimer.component.ts
@@ -0,0 +1,17 @@
+import { ChangeDetectionStrategy, Component } from '@angular/core';
+
+/**
+ * The EditionSectionDetailDisclaimer component.
+ *
+ * It contains a disclaimer for the section detail
+ * of the edition view of the app.
+ */
+@Component({
+ selector: 'awg-edition-section-detail-disclaimer',
+ templateUrl: './edition-section-detail-disclaimer.component.html',
+ styleUrls: ['./edition-section-detail-disclaimer.component.scss'],
+ changeDetection: ChangeDetectionStrategy.OnPush,
+})
+export class EditionSectionDetailDisclaimerComponent {
+ // Intentionally left empty
+}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/index.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/index.ts
new file mode 100644
index 0000000000..3aef79d175
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-disclaimer/index.ts
@@ -0,0 +1 @@
+export * from './edition-section-detail-disclaimer.component';
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.html b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.html
new file mode 100644
index 0000000000..d3e50da578
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.html
@@ -0,0 +1,27 @@
+@if (selectedSeries && selectedSection) {
+
+
+
+
+
+ {{ selectedSection?.content?.intro.preview }} …
+
+
+
+}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.scss b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.scss
new file mode 100644
index 0000000000..e69de29bb2
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.spec.ts
new file mode 100644
index 0000000000..d8a027756e
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.spec.ts
@@ -0,0 +1,210 @@
+import { DebugElement } from '@angular/core';
+import { ComponentFixture, TestBed } from '@angular/core/testing';
+
+import { cleanStylesFromDOM } from '@testing/clean-up-helper';
+import {
+ expectToBe,
+ expectToEqual,
+ getAndExpectDebugElementByCss,
+ getAndExpectDebugElementByDirective,
+} from '@testing/expect-helper';
+import { RouterLinkStubDirective } from '@testing/router-stubs';
+
+import { EditionOutlineSection, EditionOutlineSeries } from '@awg-views/edition-view/models';
+import { EditionOutlineService } from '@awg-views/edition-view/services';
+
+import { click } from '@testing/click-helper';
+import { EditionSectionDetailIntroCardComponent } from './edition-section-detail-intro-card.component';
+
+describe('EditionSectionDetailIntroCardComponent (DONE)', () => {
+ let component: EditionSectionDetailIntroCardComponent;
+ let fixture: ComponentFixture;
+ let compDe: DebugElement;
+
+ let linkDes: DebugElement[];
+ let routerLinks;
+
+ let expectedSelectedSeries: EditionOutlineSeries;
+ let expectedSelectedSection: EditionOutlineSection;
+
+ beforeAll(() => {
+ EditionOutlineService.initializeEditionOutline();
+ });
+
+ beforeEach(async () => {
+ await TestBed.configureTestingModule({
+ declarations: [EditionSectionDetailIntroCardComponent, RouterLinkStubDirective],
+ }).compileComponents();
+
+ fixture = TestBed.createComponent(EditionSectionDetailIntroCardComponent);
+ component = fixture.componentInstance;
+ compDe = fixture.debugElement;
+
+ // Test data
+ expectedSelectedSeries = JSON.parse(JSON.stringify(EditionOutlineService.getEditionOutline()[0]));
+ expectedSelectedSection = JSON.parse(JSON.stringify(expectedSelectedSeries.sections[4]));
+ });
+
+ afterAll(() => {
+ cleanStylesFromDOM();
+ });
+
+ it('should create', () => {
+ expect(component).toBeTruthy();
+ });
+
+ describe('BEFORE initial data binding', () => {
+ it('... should not have `selectedSeries`', () => {
+ expect(component.selectedSeries).toBeUndefined();
+ });
+
+ it('... should not have `selectedSection`', () => {
+ expect(component.selectedSection).toBeUndefined();
+ });
+
+ describe('VIEW', () => {
+ it('... should contain no div.card.awg-edition-card yet', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.card.awg-edition-card', 0, 0);
+ });
+ });
+ });
+
+ describe('AFTER initial data binding', () => {
+ beforeEach(() => {
+ component.selectedSeries = expectedSelectedSeries;
+ component.selectedSection = expectedSelectedSection;
+
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ it('... should have `selectedSeries`', () => {
+ expectToEqual(component.selectedSeries, expectedSelectedSeries);
+ });
+
+ it('... should have `selectedSection`', () => {
+ expectToEqual(component.selectedSection, expectedSelectedSection);
+ });
+
+ describe('VIEW', () => {
+ it('... should contain one div.card.awg-edition-card', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.card.awg-edition-card', 1, 1);
+ });
+
+ it('... should contain one h5.card-header in div.card', () => {
+ const cardDes = getAndExpectDebugElementByCss(compDe, 'div.card.awg-edition-card', 1, 1);
+ getAndExpectDebugElementByCss(cardDes[0], 'h5.card-header', 1, 1);
+ });
+
+ it('... should render intro title in h5.card-header', () => {
+ const cardDes = getAndExpectDebugElementByCss(compDe, 'div.card.awg-edition-card', 1, 1);
+ const h5Des = getAndExpectDebugElementByCss(cardDes[0], 'h5.card-header', 1, 1);
+ const h5El = h5Des[0].nativeElement;
+
+ expectToBe(h5El.textContent.trim(), 'Einleitung');
+ });
+
+ it('... should contain one div.card-body in div.card', () => {
+ const cardDes = getAndExpectDebugElementByCss(compDe, 'div.card.awg-edition-card', 1, 1);
+ getAndExpectDebugElementByCss(cardDes[0], 'div.card-body', 1, 1);
+ });
+
+ it('... should contain one p.card-text in div.card-body', () => {
+ const cardDes = getAndExpectDebugElementByCss(compDe, 'div.card.awg-edition-card', 1, 1);
+ const bodyDes = getAndExpectDebugElementByCss(cardDes[0], 'div.card-body', 1, 1);
+
+ getAndExpectDebugElementByCss(bodyDes[0], 'p.card-text', 1, 1);
+ });
+
+ it('... should render intro preview in p.card-text', () => {
+ const cardDes = getAndExpectDebugElementByCss(compDe, 'div.card.awg-edition-card', 1, 1);
+ const bodyDes = getAndExpectDebugElementByCss(cardDes[0], 'div.card-body', 1, 1);
+ const pDes = getAndExpectDebugElementByCss(bodyDes[0], 'p.card-text', 1, 1);
+ const pEl = pDes[0].nativeElement;
+
+ expectToBe(pEl.textContent.trim(), expectedSelectedSection.content.intro.preview + ' …');
+ });
+
+ it('... should contain one div.card-footer in div.card', () => {
+ const cardDes = getAndExpectDebugElementByCss(compDe, 'div.card.awg-edition-card', 1, 1);
+
+ getAndExpectDebugElementByCss(cardDes[0], 'div.card-footer', 1, 1);
+ });
+
+ it('... should have text-end paragraph in div.card-footer', () => {
+ const cardFooterDes = getAndExpectDebugElementByCss(compDe, 'div.card-footer', 1, 1);
+
+ getAndExpectDebugElementByCss(cardFooterDes[0], 'p.text-end', 1, 1);
+ });
+
+ it('... should have a link to intro in text-end paragraph', () => {
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.text-end', 1, 1);
+
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 1, 1);
+ const aEl = aDes[0].nativeElement;
+
+ const expectedLinkText = 'Mehr ...';
+
+ expectToBe(aEl.textContent.trim(), expectedLinkText);
+ });
+
+ it('... should disable links only for disabled intros', () => {
+ const pDes = getAndExpectDebugElementByCss(compDe, 'p.text-end', 1, 1);
+
+ const aDes = getAndExpectDebugElementByCss(pDes[0], 'a', 1, 1);
+ const aEl = aDes[0].nativeElement;
+
+ expectToBe(aEl.classList.contains('disabled'), expectedSelectedSection.content.intro.disabled);
+ });
+ });
+
+ describe('[routerLink]', () => {
+ beforeEach(() => {
+ // Find DebugElements with an attached RouterLinkStubDirective
+ linkDes = getAndExpectDebugElementByDirective(compDe, RouterLinkStubDirective, 1, 1);
+
+ // Get attached link directive instances using each DebugElement's injector
+ routerLinks = linkDes.map(de => de.injector.get(RouterLinkStubDirective));
+ });
+
+ it('... can get correct number of routerLinks from template', () => {
+ expectToBe(routerLinks.length, 1);
+ });
+
+ it('... can get correct linkParams from template', () => {
+ routerLinks.forEach((routerLink: RouterLinkStubDirective, _index: number) => {
+ const expectedRouterLink = [
+ '/edition',
+ 'series',
+ expectedSelectedSeries.series.route,
+ 'section',
+ expectedSelectedSection.section.route,
+ 'intro',
+ ];
+ expectToEqual(routerLink.linkParams, expectedRouterLink);
+ });
+ });
+
+ it('... can click all links in template', () => {
+ routerLinks.forEach((routerLink: RouterLinkStubDirective, index: number) => {
+ const linkDe = linkDes[index];
+ const expectedRouterLink = [
+ '/edition',
+ 'series',
+ expectedSelectedSeries.series.route,
+ 'section',
+ expectedSelectedSection.section.route,
+ 'intro',
+ ];
+
+ expectToBe(routerLink.navigatedTo, null);
+
+ click(linkDe);
+ fixture.detectChanges();
+
+ expectToEqual(routerLink.navigatedTo, expectedRouterLink);
+ });
+ });
+ });
+ });
+});
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.ts
new file mode 100644
index 0000000000..29071e18f0
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/edition-section-detail-intro-card.component.ts
@@ -0,0 +1,33 @@
+import { ChangeDetectionStrategy, Component, Input } from '@angular/core';
+
+import { EditionOutlineSection, EditionOutlineSeries } from '@awg-app/views/edition-view/models';
+
+/**
+ * The EditionSectionDetailIntroCard component.
+ *
+ * It contains the intro card for the section detail
+ * of the edition view of the app.
+ */
+@Component({
+ selector: 'awg-edition-section-detail-intro-card',
+ templateUrl: './edition-section-detail-intro-card.component.html',
+ styleUrls: ['./edition-section-detail-intro-card.component.scss'],
+ changeDetection: ChangeDetectionStrategy.OnPush,
+})
+export class EditionSectionDetailIntroCardComponent {
+ /**
+ * Input variable: selectedSeries.
+ *
+ * It keeps the selected series of the edition.
+ */
+ @Input()
+ selectedSeries: EditionOutlineSeries;
+
+ /**
+ * Input variable: selectedSection.
+ *
+ * It keeps the selected section of the edition.
+ */
+ @Input()
+ selectedSection: EditionOutlineSection;
+}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/index.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/index.ts
new file mode 100644
index 0000000000..5a211e0c58
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-intro-card/index.ts
@@ -0,0 +1 @@
+export * from './edition-section-detail-intro-card.component';
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/edition-section-detail-overview.component.html b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/edition-section-detail-overview.component.html
new file mode 100644
index 0000000000..3c75706f9d
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/edition-section-detail-overview.component.html
@@ -0,0 +1,44 @@
+@if (selectedSection$ | async; as selectedSection) {
+ @if (
+ utils.isNotEmptyArray(selectedSection?.content?.complexTypes?.opus) ||
+ utils.isNotEmptyArray(selectedSection?.content?.complexTypes?.mnr)
+ ) {
+
+ nach Opusnummer:
+ nach Moldenhauer-Nummer:
+ ;
+ let compDe: DebugElement;
+
+ let mockEditionStateService: Partial;
+
+ let editionStateServiceGetSelectedEditionSeriesSpy: Spy;
+ let editionStateServiceGetSelectedEditionSectionSpy: Spy;
+ let setupSectionDetailOverviewSpy: Spy;
+
+ let expectedSelectedSeries: EditionOutlineSeries;
+ let expectedSelectedSection: EditionOutlineSection;
+
+ beforeAll(() => {
+ EditionComplexesService.initializeEditionComplexesList();
+ EditionOutlineService.initializeEditionOutline();
+ });
+
+ beforeEach(async () => {
+ // Mock edition state service
+ mockEditionStateService = {
+ getSelectedEditionSeries: (): Observable => observableOf(expectedSelectedSeries),
+ getSelectedEditionSection: (): Observable => observableOf(expectedSelectedSection),
+ };
+
+ await TestBed.configureTestingModule({
+ declarations: [
+ EditionSectionDetailOverviewComponent,
+ EditionSectionDetailComplexCardStubComponent,
+ EditionSectionDetailDisclaimerStubComponent,
+ EditionSectionDetailIntroCardStubComponent,
+ EditionSectionDetailPlaceholderStubComponent,
+ RouterLinkStubDirective,
+ ],
+ providers: [{ provide: EditionStateService, useValue: mockEditionStateService }],
+ }).compileComponents();
+
+ fixture = TestBed.createComponent(EditionSectionDetailOverviewComponent);
+ component = fixture.componentInstance;
+ compDe = fixture.debugElement;
+
+ // TestData
+ expectedSelectedSeries = JSON.parse(JSON.stringify(EditionOutlineService.getEditionOutline()[0]));
+ expectedSelectedSection = JSON.parse(JSON.stringify(expectedSelectedSeries.sections[4]));
+
+ // Spies on component functions
+ // `.and.callThrough` will track the spy down the nested describes, see
+ // https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
+ editionStateServiceGetSelectedEditionSeriesSpy = spyOn(
+ mockEditionStateService,
+ 'getSelectedEditionSeries'
+ ).and.callThrough();
+ editionStateServiceGetSelectedEditionSectionSpy = spyOn(
+ mockEditionStateService,
+ 'getSelectedEditionSection'
+ ).and.callThrough();
+ setupSectionDetailOverviewSpy = spyOn(component, 'setupSectionDetailOverview').and.callThrough();
+ });
+
+ afterAll(() => {
+ cleanStylesFromDOM();
+ });
+
+ it('should create', () => {
+ expect(component).toBeTruthy();
+ });
+
+ describe('BEFORE initial data binding', () => {
+ it('... should not have `selectedSeries$`', () => {
+ expect(component.selectedSeries$).toBeUndefined();
+ });
+
+ it('... should not have `selectedSection$`', () => {
+ expect(component.selectedSection$).toBeUndefined();
+ });
+
+ describe('VIEW', () => {
+ it('... should contain no outer div.awg-edition-section-detail yet', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 0, 0);
+ });
+
+ it('... should contain no EditionSectionDisclaimer (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailDisclaimerStubComponent, 0, 0);
+ });
+
+ it('... should contain no EditionSectionDetailIntroCard (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailIntroCardStubComponent, 0, 0);
+ });
+
+ it('... should contain no EditionSectionDetailComplexCard (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailComplexCardStubComponent, 0, 0);
+ });
+
+ it('... should contain no EditionSectionDetailPlaceholder (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailPlaceholderStubComponent, 0, 0);
+ });
+ });
+ });
+
+ describe('AFTER initial data binding', () => {
+ beforeEach(() => {
+ // Mock the parent component input
+ component.selectedSeries$ = observableOf(expectedSelectedSeries);
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ it('should have `selectedSeries$`', waitForAsync(() => {
+ expectAsync(lastValueFrom(component.selectedSeries$)).toBeResolvedTo(expectedSelectedSeries);
+ }));
+
+ it('should have `selectedSection$`', waitForAsync(() => {
+ expectAsync(lastValueFrom(component.selectedSection$)).toBeResolvedTo(expectedSelectedSection);
+ }));
+
+ describe('VIEW', () => {
+ it('... should contain one outer div.awg-edition-section-detail', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
+ });
+
+ it('... should contain one EditionSectionDisclaimer (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailDisclaimerStubComponent, 1, 1);
+ });
+
+ it('... should contain no EditionSectionDetailPlaceholder (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailPlaceholderStubComponent, 0, 0);
+ });
+
+ describe('... with given intro', () => {
+ it('... should contain one div.awg-edition-section-detail-intro', waitForAsync(() => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-intro', 1, 1);
+ }));
+
+ it('... should contain one EditionSectionDetailIntroCardComponent (stubbed)', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-intro', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], EditionSectionDetailIntroCardStubComponent, 1, 1);
+ });
+
+ it('... should pass down selectedSeries and selectedSection to EditionSectionDetailIntroCardComponent', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-intro', 1, 1);
+ const introCardDes = getAndExpectDebugElementByDirective(
+ divDes[0],
+ EditionSectionDetailIntroCardStubComponent,
+ 1,
+ 1
+ );
+ const introCardCmp = introCardDes[0].injector.get(
+ EditionSectionDetailIntroCardStubComponent
+ ) as EditionSectionDetailIntroCardStubComponent;
+
+ expectToEqual(introCardCmp.selectedSeries, expectedSelectedSeries);
+ expectToEqual(introCardCmp.selectedSection, expectedSelectedSection);
+ });
+ });
+
+ describe('... with intro disabled', () => {
+ it('... should contain no div.awg-edition-section-detail-intro', waitForAsync(() => {
+ expectedSelectedSection.content.intro.disabled = true;
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+ detectChangesOnPush(fixture);
+
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-intro', 0, 0);
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailIntroCardStubComponent, 0, 0);
+ }));
+ });
+
+ describe('... with given complexes', () => {
+ describe('... should contain one outer div.awg-edition-section-detail, but no EditionSectionDetailPlaceholder ...', () => {
+ it('... if selected section is given and not empty', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailPlaceholderStubComponent, 0, 0);
+ });
+
+ it('... if selected section has empty opus complexes, but given mnr complexes', waitForAsync(() => {
+ expectedSelectedSection.content.complexTypes.opus = undefined;
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+ detectChangesOnPush(fixture);
+
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailPlaceholderStubComponent, 0, 0);
+ }));
+
+ it('... if selected section has empty mnr complexes, but given opus complexes', waitForAsync(() => {
+ expectedSelectedSection.content.complexTypes.mnr = undefined;
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+ detectChangesOnPush(fixture);
+
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailPlaceholderStubComponent, 0, 0);
+ }));
+ });
+
+ describe('... opus complexes', () => {
+ it('... should contain one inner div.awg-edition-section-detail-opus if opus complexes are given', () => {
+ const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
+ getAndExpectDebugElementByCss(divDe[0], 'div.awg-edition-section-detail-opus', 1, 1);
+ });
+
+ it('... should contain no inner div.awg-edition-section-detail-opus if no opus complexes are given', waitForAsync(() => {
+ expectedSelectedSection.content.complexTypes.opus = undefined;
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+ detectChangesOnPush(fixture);
+
+ const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
+ getAndExpectDebugElementByCss(divDe[0], 'div.awg-edition-section-detail-opus', 0, 0);
+ }));
+
+ it('... should display header (h5) in div.awg-edition-section-detail-opus', () => {
+ const divDe = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-detail-opus',
+ 1,
+ 1
+ );
+ const headerDe = getAndExpectDebugElementByCss(divDe[0], 'h5', 1, 1);
+ const headerEl = headerDe[0].nativeElement;
+
+ const expectedHeaderText = 'nach Opusnummer:';
+
+ expectToBe(headerEl.textContent, expectedHeaderText);
+ });
+
+ it('... should contain one EditionSectionDetailComplexCardComponent (stubbed)', () => {
+ const divDe = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-detail-opus',
+ 1,
+ 1
+ );
+
+ getAndExpectDebugElementByDirective(
+ divDe[0],
+ EditionSectionDetailComplexCardStubComponent,
+ 1,
+ 1
+ );
+ });
+
+ it('... should pass down opus complexes to EditionSectionDetailComplexCardComponent', () => {
+ const divDe = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-detail-opus',
+ 1,
+ 1
+ );
+ const complexCardDes = getAndExpectDebugElementByDirective(
+ divDe[0],
+ EditionSectionDetailComplexCardStubComponent,
+ 1,
+ 1
+ );
+ const complexCardCmp = complexCardDes[0].injector.get(
+ EditionSectionDetailComplexCardStubComponent
+ ) as EditionSectionDetailComplexCardStubComponent;
+
+ expectToEqual(complexCardCmp.complexes, expectedSelectedSection.content.complexTypes.opus);
+ });
+ });
+
+ describe('... mnr complexes', () => {
+ it('... should contain one inner div.awg-edition-section-detail-mnr if mnr complexes are given', () => {
+ const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
+ getAndExpectDebugElementByCss(divDe[0], 'div.awg-edition-section-detail-mnr', 1, 1);
+ });
+
+ it('... should contain no inner div.awg-edition-section-detail-mnr if no mnr complexes are given', waitForAsync(() => {
+ expectedSelectedSection.content.complexTypes.mnr = undefined;
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+ detectChangesOnPush(fixture);
+
+ const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
+ getAndExpectDebugElementByCss(divDe[0], 'div.awg-edition-section-detail-mnr', 0, 0);
+ }));
+
+ it('... should display header (h5) in div.awg-edition-section-detail-mnr', () => {
+ const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-mnr', 1, 1);
+ const headerDe = getAndExpectDebugElementByCss(divDe[0], 'h5', 1, 1);
+ const headerEl = headerDe[0].nativeElement;
+
+ const expectedHeaderText = 'nach Moldenhauer-Nummer:';
+
+ expectToBe(headerEl.textContent, expectedHeaderText);
+ });
+
+ it('... should contain one EditionSectionDetailComplexCardComponent (stubbed)', () => {
+ const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-mnr', 1, 1);
+
+ getAndExpectDebugElementByDirective(
+ divDe[0],
+ EditionSectionDetailComplexCardStubComponent,
+ 1,
+ 1
+ );
+ });
+
+ it('... should pass down mnr complexes to EditionSectionDetailComplexCardComponent', () => {
+ const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-mnr', 1, 1);
+ const complexCardDes = getAndExpectDebugElementByDirective(
+ divDe[0],
+ EditionSectionDetailComplexCardStubComponent,
+ 1,
+ 1
+ );
+ const complexCardCmp = complexCardDes[0].injector.get(
+ EditionSectionDetailComplexCardStubComponent
+ ) as EditionSectionDetailComplexCardStubComponent;
+
+ expectToEqual(complexCardCmp.complexes, expectedSelectedSection.content.complexTypes.mnr);
+ });
+ });
+ });
+
+ describe('... with no complexes', () => {
+ describe('... should contain no outer div.awg-edition-section-detail, but one EditionSectionDetailPlaceholder ...', () => {
+ it('... if selectedSection has no complexTypes...', waitForAsync(() => {
+ expectedSelectedSection.content.complexTypes = undefined;
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+ detectChangesOnPush(fixture);
+
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 0, 0);
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailPlaceholderStubComponent, 1, 1);
+ }));
+
+ it('... if selectedSection has empty opus and mnr complexTypes', waitForAsync(() => {
+ expectedSelectedSection.content.complexTypes.opus = undefined;
+ expectedSelectedSection.content.complexTypes.mnr = undefined;
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+ detectChangesOnPush(fixture);
+
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 0, 0);
+ getAndExpectDebugElementByDirective(compDe, EditionSectionDetailPlaceholderStubComponent, 1, 1);
+ }));
+ });
+
+ it('... should pass down selectedSeries and selectedSection to EditionSectionDetailPlaceholder', waitForAsync(() => {
+ expectedSelectedSection.content.complexTypes = undefined;
+ component.selectedSection$ = observableOf(expectedSelectedSection);
+ detectChangesOnPush(fixture);
+
+ const placeholderDes = getAndExpectDebugElementByDirective(
+ compDe,
+ EditionSectionDetailPlaceholderStubComponent,
+ 1,
+ 1
+ );
+ const placeholderCmp = placeholderDes[0].injector.get(
+ EditionSectionDetailPlaceholderStubComponent
+ ) as EditionSectionDetailPlaceholderStubComponent;
+
+ expectToEqual(placeholderCmp.selectedSeries, expectedSelectedSeries);
+ expectToEqual(placeholderCmp.selectedSection, expectedSelectedSection);
+ }));
+ });
+ });
+
+ describe('#setupSectionDetailOverview()', () => {
+ it('... should have a method `setupSectionDetailOverview`', () => {
+ expect(component.setupSectionDetailOverview).toBeDefined();
+ });
+
+ it('... should have been called', () => {
+ expectSpyCall(setupSectionDetailOverviewSpy, 1);
+ });
+
+ it('... should have triggered `editionStateService.getSelectedEditionSeries`', () => {
+ expectSpyCall(editionStateServiceGetSelectedEditionSeriesSpy, 1);
+ });
+
+ it('... should have set selectedSeries (via EditionStateService)', waitForAsync(() => {
+ expectSpyCall(editionStateServiceGetSelectedEditionSeriesSpy, 1);
+ expectAsync(lastValueFrom(component.selectedSeries$)).toBeResolvedTo(expectedSelectedSeries);
+ }));
+
+ it('... should have triggered `editionStateService.getSelectedEditionSection`', () => {
+ expectSpyCall(editionStateServiceGetSelectedEditionSectionSpy, 1);
+ });
+
+ it('... should have set selectedSection (via EditionStateService)', waitForAsync(() => {
+ expectSpyCall(editionStateServiceGetSelectedEditionSectionSpy, 1);
+ expectAsync(lastValueFrom(component.selectedSection$)).toBeResolvedTo(expectedSelectedSection);
+ }));
+ });
+ });
+});
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/edition-section-detail-overview.component.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/edition-section-detail-overview.component.ts
new file mode 100644
index 0000000000..696fcffb86
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/edition-section-detail-overview.component.ts
@@ -0,0 +1,72 @@
+import { ChangeDetectionStrategy, Component, OnInit } from '@angular/core';
+
+import { UtilityService } from '@awg-core/services';
+import { EditionOutlineSection, EditionOutlineSeries } from '@awg-views/edition-view/models';
+import { EditionStateService } from '@awg-views/edition-view/services';
+import { Observable } from 'rxjs';
+
+/**
+ * The EditionSectionDetailOverview component.
+ *
+ * It contains the detail overview of a section
+ * of the edition view of the app.
+ */
+@Component({
+ selector: 'awg-edition-section-detail-overview',
+ templateUrl: './edition-section-detail-overview.component.html',
+ styleUrls: ['./edition-section-detail-overview.component.scss'],
+ changeDetection: ChangeDetectionStrategy.OnPush,
+})
+export class EditionSectionDetailOverviewComponent implements OnInit {
+ /**
+ * Public variable: selectedSeries.
+ *
+ * It keeps the observable of the selected series of the edition.
+ */
+ selectedSeries$: Observable;
+
+ /**
+ * Public variable: selectedSection$.
+ *
+ * It keeps the observable of the selected section of the edition.
+ */
+ selectedSection$: Observable;
+
+ /**
+ * Constructor of the EditionSectionDetailComponent.
+ *
+ * It declares private instances of the EditionStateService,
+ * and a public instance of the UtilityService.
+ *
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
+ * @param {UtilityService} utils Instance of the UtilityService.
+ */
+ constructor(
+ private editionStateService: EditionStateService,
+ public utils: UtilityService
+ ) {
+ // Intentionally left empty until implemented
+ }
+
+ /**
+ * Angular life cycle hook: ngOnInit.
+ *
+ * It calls the containing methods
+ * when initializing the component.
+ */
+ ngOnInit() {
+ this.setupSectionDetailOverview();
+ }
+
+ /**
+ * Public method: setupSectionDetailOverview.
+ *
+ * It sets up the section detail ovewview.
+ *
+ * @returns {void} Sets up the section detail overview.
+ */
+ setupSectionDetailOverview(): void {
+ this.selectedSeries$ = this.editionStateService.getSelectedEditionSeries();
+ this.selectedSection$ = this.editionStateService.getSelectedEditionSection();
+ }
+}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/index.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/index.ts
new file mode 100644
index 0000000000..f39ccb1699
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-overview/index.ts
@@ -0,0 +1 @@
+export * from './edition-section-detail-overview.component';
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/edition-section-detail-placeholder.component.html b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/edition-section-detail-placeholder.component.html
new file mode 100644
index 0000000000..8bd1459cfe
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/edition-section-detail-placeholder.component.html
@@ -0,0 +1,8 @@
+;
+ let compDe: DebugElement;
+
+ let expectedSelectedSeries: EditionOutlineSeries;
+ let expectedSelectedSection: EditionOutlineSection;
+
+ let expectedInfoMessage: string;
+
+ beforeAll(() => {
+ EditionOutlineService.initializeEditionOutline();
+ });
+
+ beforeEach(async () => {
+ await TestBed.configureTestingModule({
+ declarations: [EditionSectionDetailPlaceholderComponent, AlertInfoStubComponent],
+ }).compileComponents();
+
+ fixture = TestBed.createComponent(EditionSectionDetailPlaceholderComponent);
+ component = fixture.componentInstance;
+ compDe = fixture.debugElement;
+
+ // Test data
+ expectedSelectedSeries = JSON.parse(JSON.stringify(EditionOutlineService.getEditionOutline()[0]));
+ expectedSelectedSection = JSON.parse(JSON.stringify(expectedSelectedSeries.sections[4]));
+
+ const series = expectedSelectedSeries.series.short;
+ const section = expectedSelectedSection.section.short;
+ expectedInfoMessage = `[Diese Inhalte erscheinen im Zusammenhang der vollständigen Edition von AWG ${series}/${section}.]`;
+ });
+
+ afterAll(() => {
+ cleanStylesFromDOM();
+ });
+
+ it('should create', () => {
+ expect(component).toBeTruthy();
+ });
+
+ describe('BEFORE initial data binding', () => {
+ it('... should not have `selectedSeries`', () => {
+ expect(component.selectedSeries).toBeUndefined();
+ });
+
+ it('... should not have `selectedSection`', () => {
+ expect(component.selectedSection).toBeUndefined();
+ });
+
+ describe('VIEW', () => {
+ it('... should contain an AlertInfoComponent (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, AlertInfoStubComponent, 1, 1);
+ });
+
+ it('... should not pass down infoMessage to AlertInfoComponent yet', () => {
+ const alertInfoDes = getAndExpectDebugElementByDirective(compDe, AlertInfoStubComponent, 1, 1);
+ const alertInfoCmp = alertInfoDes[0].injector.get(AlertInfoStubComponent) as AlertInfoStubComponent;
+
+ expect(alertInfoCmp.infoMessage).toBeUndefined();
+ });
+ });
+ });
+
+ describe('AFTER initial data binding', () => {
+ beforeEach(() => {
+ component.selectedSeries = expectedSelectedSeries;
+ component.selectedSection = expectedSelectedSection;
+
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ describe('VIEW', () => {
+ it('... should pass down infoMessage to AlertInfoComponent', () => {
+ const alertInfoDes = getAndExpectDebugElementByDirective(compDe, AlertInfoStubComponent, 1, 1);
+ const alertInfoCmp = alertInfoDes[0].injector.get(AlertInfoStubComponent) as AlertInfoStubComponent;
+
+ expectToEqual(alertInfoCmp.infoMessage, expectedInfoMessage);
+ });
+ });
+ });
+});
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/edition-section-detail-placeholder.component.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/edition-section-detail-placeholder.component.ts
new file mode 100644
index 0000000000..9c04a1fac9
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/edition-section-detail-placeholder.component.ts
@@ -0,0 +1,33 @@
+import { ChangeDetectionStrategy, Component, Input } from '@angular/core';
+
+import { EditionOutlineSection, EditionOutlineSeries } from '@awg-app/views/edition-view/models';
+
+/**
+ * The EditionSectionDetailPlaceholder component.
+ *
+ * It contains a placeholder for the section detail
+ * of the edition view of the app.
+ */
+@Component({
+ selector: 'awg-edition-section-detail-placeholder',
+ templateUrl: './edition-section-detail-placeholder.component.html',
+ styleUrls: ['./edition-section-detail-placeholder.component.scss'],
+ changeDetection: ChangeDetectionStrategy.OnPush,
+})
+export class EditionSectionDetailPlaceholderComponent {
+ /**
+ * Input variable: selectedSeries.
+ *
+ * It keeps the selected series of the edition.
+ */
+ @Input()
+ selectedSeries: EditionOutlineSeries;
+
+ /**
+ * Input variable: selectedSection.
+ *
+ * It keeps the selected section of the edition.
+ */
+ @Input()
+ selectedSection: EditionOutlineSection;
+}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/index.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/index.ts
new file mode 100644
index 0000000000..c327c09274
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-placeholder/index.ts
@@ -0,0 +1 @@
+export * from './edition-section-detail-placeholder.component';
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-routing.module.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-routing.module.ts
new file mode 100644
index 0000000000..58329ba591
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail-routing.module.ts
@@ -0,0 +1,46 @@
+import { NgModule } from '@angular/core';
+import { RouterModule, Routes } from '@angular/router';
+
+import { EditionSectionDetailOverviewComponent } from './edition-section-detail-overview/edition-section-detail-overview.component';
+import { EditionSectionDetailComponent } from './edition-section-detail.component';
+
+/* Routes of the EditionSectionDetailModule */
+const EDITION_SECTION_DETAIL_ROUTES: Routes = [
+ {
+ path: '',
+ component: EditionSectionDetailComponent,
+ children: [
+ {
+ path: 'intro',
+ loadChildren: () =>
+ import(
+ '../../../edition-outlets/edition-complex/edition-detail/edition-intro/edition-intro.module'
+ ).then(m => m.EditionIntroModule),
+ },
+ {
+ path: '',
+ component: EditionSectionDetailOverviewComponent,
+ },
+ ],
+ },
+];
+
+/**
+ * Routed components of the {@link EditionSectionDetailModule}:
+ * {@link EditionSectionDetailComponent} and {@link EditionSectionDetailOverviewComponent}.
+ */
+export const routedEditionSectionDetailComponents = [
+ EditionSectionDetailComponent,
+ EditionSectionDetailOverviewComponent,
+];
+
+/**
+ * EditionSectionDetail module routing.
+ *
+ * It activates the EDITION_SECTION_DETAIL_ROUTES.
+ */
+@NgModule({
+ imports: [RouterModule.forChild(EDITION_SECTION_DETAIL_ROUTES)],
+ exports: [RouterModule],
+})
+export class EditionSectionDetailRoutingModule {}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.component.html b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.component.html
index 28098e4ab2..67e7bd4cd6 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.component.html
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.component.html
@@ -1,28 +1 @@
-@if (
- selectedSection &&
- utils.isNotEmptyObject(selectedSection.complexTypes) &&
- (utils.isNotEmptyArray(selectedSection.complexTypes.opus) ||
- utils.isNotEmptyArray(selectedSection.complexTypes.mnr))
-) {
-
- @if (utils.isNotEmptyArray(selectedSection.complexTypes.opus)) {
-
- nach Opusnummer:
- nach Moldenhauer-Nummer:
-
- [Diese Inhalte erscheinen im Zusammenhang der vollständigen Edition von AWG
- {{ selectedSeries?.series.short }}/{{ selectedSection?.section.short }}.]
-
-
-}
+;
let compDe: DebugElement;
let mockActivatedRoute: ActivatedRouteStub;
- let mockEditionService: Partial;
+ let mockEditionStateService: Partial;
let updateSectionFromRouteSpy: Spy;
- let editionServiceGetSelectedEditionSeriesSpy: Spy;
let editionOutlineServiceGetEditionSectionByIdSpy: Spy;
- let editionServiceUpdateSelectedEditionSectionSpy: Spy;
+ let editionStateServiceGetSelectedEditionSeriesSpy: Spy;
+ let editionStateServiceUpdateSelectedEditionSectionSpy: Spy;
let expectedSelectedSeries: EditionOutlineSeries;
let expectedSelectedSection: EditionOutlineSection;
@@ -51,8 +38,8 @@ describe('EditionSectionDetailComponent (DONE)', () => {
});
beforeEach(async () => {
- // Mock edition service
- mockEditionService = {
+ // Mock edition state service
+ mockEditionStateService = {
getSelectedEditionSeries: (): Observable => observableOf(expectedSelectedSeries),
updateSelectedEditionSection: (editionSection: EditionOutlineSection): void => {},
};
@@ -61,10 +48,10 @@ describe('EditionSectionDetailComponent (DONE)', () => {
mockActivatedRoute = new ActivatedRouteStub();
await TestBed.configureTestingModule({
- declarations: [EditionSectionDetailComponent, EditionComplexCardStubComponent],
+ declarations: [EditionSectionDetailComponent, RouterOutletStubComponent],
providers: [
{ provide: ActivatedRoute, useValue: mockActivatedRoute },
- { provide: EditionService, useValue: mockEditionService },
+ { provide: EditionStateService, useValue: mockEditionStateService },
],
}).compileComponents();
});
@@ -84,18 +71,22 @@ describe('EditionSectionDetailComponent (DONE)', () => {
// `.and.callThrough` will track the spy down the nested describes, see
// https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
updateSectionFromRouteSpy = spyOn(component, 'updateSectionFromRoute').and.callThrough();
- editionServiceGetSelectedEditionSeriesSpy = spyOn(
- mockEditionService,
- 'getSelectedEditionSeries'
- ).and.callThrough();
- editionServiceUpdateSelectedEditionSectionSpy = spyOn(
- mockEditionService,
- 'updateSelectedEditionSection'
- ).and.callThrough();
editionOutlineServiceGetEditionSectionByIdSpy = spyOn(
EditionOutlineService,
'getEditionSectionById'
).and.callThrough();
+ editionStateServiceGetSelectedEditionSeriesSpy = spyOn(
+ mockEditionStateService,
+ 'getSelectedEditionSeries'
+ ).and.callThrough();
+ editionStateServiceUpdateSelectedEditionSectionSpy = spyOn(
+ mockEditionStateService,
+ 'updateSelectedEditionSection'
+ ).and.callThrough();
+ });
+
+ afterAll(() => {
+ cleanStylesFromDOM();
});
it('... should create', () => {
@@ -103,14 +94,6 @@ describe('EditionSectionDetailComponent (DONE)', () => {
});
describe('BEFORE initial data binding', () => {
- it('... should not have `selectedSeries`', () => {
- expect(component.selectedSeries).toBeUndefined();
- });
-
- it('... should not have `selectedSection`', () => {
- expect(component.selectedSection).toBeUndefined();
- });
-
describe('#updateSectionFromRoute()', () => {
it('... should have a method `updateSectionFromRoute`', () => {
expect(component.updateSectionFromRoute).toBeDefined();
@@ -122,12 +105,8 @@ describe('EditionSectionDetailComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should contain no outer div.awg-edition-section-detail yet', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 0, 0);
- });
-
- it('... should contain no div.alert-info', () => {
- getAndExpectDebugElementByCss(compDe, 'div.alert-info', 0, 0);
+ it('... should contain one router outlet (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 1, 1);
});
});
});
@@ -146,232 +125,22 @@ describe('EditionSectionDetailComponent (DONE)', () => {
expectSpyCall(updateSectionFromRouteSpy, 1);
});
- it('... should have called editionService.getSelectedEditionSeries', () => {
- expectSpyCall(editionServiceGetSelectedEditionSeriesSpy, 1);
+ it('... should have called editionStateService.getSelectedEditionSeries', () => {
+ expectSpyCall(editionStateServiceGetSelectedEditionSeriesSpy, 1);
});
- it('... should have set selectedSeries (via EditionService)', waitForAsync(() => {
- expectSpyCall(updateSectionFromRouteSpy, 1);
- expectSpyCall(editionServiceGetSelectedEditionSeriesSpy, 1);
-
- expectToEqual(component.selectedSeries, expectedSelectedSeries);
- }));
-
it('... should have called EditionOutlineService.getEditionSectionById', () => {
expectSpyCall(editionOutlineServiceGetEditionSectionByIdSpy, 1, [expectedSeriesId, expectedSectionId]);
});
- it('... should have set selectedSection (via EditionOutlineService)', waitForAsync(() => {
- expectSpyCall(updateSectionFromRouteSpy, 1);
- expectSpyCall(editionOutlineServiceGetEditionSectionByIdSpy, 1, [expectedSeriesId, expectedSectionId]);
-
- expectToEqual(component.selectedSection, expectedSelectedSection);
- }));
-
- it('... should have called editionService.updateSelectedEditionSection with selectedSection', () => {
- expectSpyCall(editionServiceUpdateSelectedEditionSectionSpy, 1, expectedSelectedSection);
+ it('... should have called editionStateService.updateSelectedEditionSection with selectedSection', () => {
+ expectSpyCall(editionStateServiceUpdateSelectedEditionSectionSpy, 1, expectedSelectedSection);
});
});
describe('VIEW', () => {
- describe('... with given complexes', () => {
- describe('... should contain 1 outer div.awg-edition-section-detail, but no div.alert-info ...', () => {
- it('... if selected section is given and not empty', waitForAsync(() => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
- getAndExpectDebugElementByCss(compDe, 'div.alert-info', 0, 0);
- }));
-
- it('... if selected section has empty opus complexes, but given mnr complexes', waitForAsync(() => {
- const shallowCopy = { ...component.selectedSection };
- shallowCopy.complexTypes = { ...component.selectedSection.complexTypes, opus: undefined };
- component.selectedSection = shallowCopy;
- fixture.detectChanges();
-
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
- getAndExpectDebugElementByCss(compDe, 'div.alert-info', 0, 0);
- }));
-
- it('... if selected section has empty mnr complexes, but given opus complexes', waitForAsync(() => {
- const shallowCopy = { ...component.selectedSection };
- shallowCopy.complexTypes = { ...component.selectedSection.complexTypes, mnr: undefined };
- component.selectedSection = shallowCopy;
- fixture.detectChanges();
-
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
- getAndExpectDebugElementByCss(compDe, 'div.alert-info', 0, 0);
- }));
- });
-
- describe('... opus complexes', () => {
- it('... should contain 1 inner div.awg-edition-section-detail-opus if opus complexes are given', () => {
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
- getAndExpectDebugElementByCss(divDe[0], 'div.awg-edition-section-detail-opus', 1, 1);
- });
-
- it('... should contain no inner div.awg-edition-section-detail-opus if no opus complexes are given', () => {
- const shallowCopy = { ...component.selectedSection };
- shallowCopy.complexTypes = { ...component.selectedSection.complexTypes, opus: undefined };
- component.selectedSection = shallowCopy;
- fixture.detectChanges();
-
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
- getAndExpectDebugElementByCss(divDe[0], 'div.awg-edition-section-detail-opus', 0, 0);
- });
-
- it('... should display header (h5) in div.awg-edition-section-detail-opus', () => {
- const divDe = getAndExpectDebugElementByCss(
- compDe,
- 'div.awg-edition-section-detail-opus',
- 1,
- 1
- );
- const headerDe = getAndExpectDebugElementByCss(divDe[0], 'h5', 1, 1);
- const headerEl = headerDe[0].nativeElement;
-
- const expectedHeaderText = 'nach Opusnummer:';
-
- expectToBe(headerEl.textContent, expectedHeaderText);
- });
-
- it('... should contain 1 edition complex card component (stubbed)', () => {
- const divDe = getAndExpectDebugElementByCss(
- compDe,
- 'div.awg-edition-section-detail-opus',
- 1,
- 1
- );
-
- getAndExpectDebugElementByDirective(divDe[0], EditionComplexCardStubComponent, 1, 1);
- });
-
- it('... should pass down complexes to edition complex card component', () => {
- const divDe = getAndExpectDebugElementByCss(
- compDe,
- 'div.awg-edition-section-detail-opus',
- 1,
- 1
- );
- const complexCardDes = getAndExpectDebugElementByDirective(
- divDe[0],
- EditionComplexCardStubComponent,
- 1,
- 1
- );
- const complexCardCmp = complexCardDes[0].injector.get(
- EditionComplexCardStubComponent
- ) as EditionComplexCardStubComponent;
-
- expectToEqual(complexCardCmp.complexes, expectedSelectedSection.complexTypes.opus);
- });
- });
-
- describe('... mnr complexes', () => {
- it('... should contain 1 inner div.awg-edition-section-detail-mnr if mnr complexes are given', () => {
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
- getAndExpectDebugElementByCss(divDe[0], 'div.awg-edition-section-detail-mnr', 1, 1);
- });
-
- it('... should contain no inner div.awg-edition-section-detail-mnr if no mnr complexes are given', () => {
- const shallowCopy = { ...component.selectedSection };
- shallowCopy.complexTypes = { ...component.selectedSection.complexTypes, mnr: undefined };
- component.selectedSection = shallowCopy;
- fixture.detectChanges();
-
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 1, 1);
- getAndExpectDebugElementByCss(divDe[0], 'div.awg-edition-section-detail-mnr', 0, 0);
- });
-
- it('... should display header (h5) in div.awg-edition-section-detail-mnr', () => {
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-mnr', 1, 1);
- const headerDe = getAndExpectDebugElementByCss(divDe[0], 'h5', 1, 1);
- const headerEl = headerDe[0].nativeElement;
-
- const expectedHeaderText = 'nach Moldenhauer-Nummer:';
-
- expectToBe(headerEl.textContent, expectedHeaderText);
- });
-
- it('... should contain 1 edition complex card component (stubbed)', () => {
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-mnr', 1, 1);
-
- getAndExpectDebugElementByDirective(divDe[0], EditionComplexCardStubComponent, 1, 1);
- });
-
- it('... should pass down complexes to edition complex card component', () => {
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail-mnr', 1, 1);
- const complexCardDes = getAndExpectDebugElementByDirective(
- divDe[0],
- EditionComplexCardStubComponent,
- 1,
- 1
- );
- const complexCardCmp = complexCardDes[0].injector.get(
- EditionComplexCardStubComponent
- ) as EditionComplexCardStubComponent;
-
- expectToEqual(complexCardCmp.complexes, expectedSelectedSection.complexTypes.mnr);
- });
- });
- });
-
- describe('... with no complexes', () => {
- describe('... should contain no outer div.awg-edition-section-detail, but 1 div.alert-info ...', () => {
- it('... if selectedSection has no complexes...', waitForAsync(() => {
- const shallowCopy = { ...component.selectedSection };
- shallowCopy.complexTypes = undefined;
- component.selectedSection = shallowCopy;
- fixture.detectChanges();
-
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 0, 0);
- getAndExpectDebugElementByCss(compDe, 'div.alert-info', 1, 1);
- }));
-
- it('... if selectedSection has empty opus and mnr complexes', waitForAsync(() => {
- const shallowCopy = { ...component.selectedSection };
- shallowCopy.complexTypes = {
- ...component.selectedSection.complexTypes,
- opus: undefined,
- mnr: undefined,
- };
- component.selectedSection = shallowCopy;
- fixture.detectChanges();
-
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-section-detail', 0, 0);
- getAndExpectDebugElementByCss(compDe, 'div.alert-info', 1, 1);
- }));
- });
-
- it('... should contain 1 p.text-muted in div.alert-info', () => {
- const shallowCopy = { ...component.selectedSection };
- shallowCopy.complexTypes = undefined;
- component.selectedSection = shallowCopy;
- fixture.detectChanges();
-
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.alert-info', 1, 1);
- const pDe = getAndExpectDebugElementByCss(divDe[0], 'p', 1, 1);
- const pEl = pDe[0].nativeElement;
-
- expectToContain(pEl.classList, 'text-muted');
- });
-
- it('... should display info message in p.text-muted', () => {
- const shallowCopy = { ...component.selectedSection };
- shallowCopy.complexTypes = undefined;
- component.selectedSection = shallowCopy;
- fixture.detectChanges();
-
- const divDe = getAndExpectDebugElementByCss(compDe, 'div.alert-info', 1, 1);
- const pDe = getAndExpectDebugElementByCss(divDe[0], 'p', 1, 1);
- const pEl = pDe[0].nativeElement;
-
- const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
- const series = expectedSelectedSeries.series.short;
- const section = expectedSelectedSection.section.short;
-
- const expectedNoComplexesMsg = `[Diese Inhalte erscheinen im Zusammenhang der vollständigen Edition von ${awg} ${series}/${section}.]`;
-
- expectToBe(pEl.textContent.trim(), expectedNoComplexesMsg.trim());
- });
+ it('... should contain one router outlet (stubbed)', () => {
+ getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 1, 1);
});
});
});
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.component.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.component.ts
index d064cb4b75..a6c6cc5e18 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.component.ts
@@ -4,9 +4,7 @@ import { ActivatedRoute } from '@angular/router';
import { Subject } from 'rxjs';
import { filter, takeUntil } from 'rxjs/operators';
-import { UtilityService } from '@awg-core/services';
-import { EditionOutlineComplexItem, EditionOutlineSection, EditionOutlineSeries } from '@awg-views/edition-view/models';
-import { EditionOutlineService, EditionService } from '@awg-views/edition-view/services';
+import { EditionOutlineService, EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionSectionDetail component.
@@ -20,20 +18,6 @@ import { EditionOutlineService, EditionService } from '@awg-views/edition-view/s
styleUrls: ['./edition-section-detail.component.scss'],
})
export class EditionSectionDetailComponent implements OnInit, OnDestroy {
- /**
- * Public variable: selectedSeries.
- *
- * It keeps the selected series of the edition.
- */
- selectedSeries: EditionOutlineSeries;
-
- /**
- * Public variable: selectedSection.
- *
- * It keeps the selected section of the edition.
- */
- selectedSection: EditionOutlineSection;
-
/**
* Private variable: _destroyed$.
*
@@ -44,17 +28,14 @@ export class EditionSectionDetailComponent implements OnInit, OnDestroy {
/**
* Constructor of the EditionSectionDetailComponent.
*
- * It declares private instances of the Angular ActivatedRoute and the EditionService,
- * and a public instance of the UtilityService.
+ * It declares private instances of the Angular ActivatedRoute and the EditionStateService.
*
* @param {ActivatedRoute} route Instance of the ActivatedRoute.
- * @param {EditionService} editionService Instance of the EditionService.
- * @param {UtilityService} utils Instance of the UtilityService.
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
*/
constructor(
private route: ActivatedRoute,
- private editionService: EditionService,
- public utils: UtilityService
+ private editionStateService: EditionStateService
) {
// Intentionally left empty until implemented
}
@@ -72,24 +53,24 @@ export class EditionSectionDetailComponent implements OnInit, OnDestroy {
/**
* Public method: updateSectionFromRoute.
*
- * It fetches the route params to get the id of the current section and updates the edition service.
+ * It fetches the route params to get the id of the current section
+ * and updates the EditionStateService.
*
* @returns {void} Updates the edition section.
*/
updateSectionFromRoute(): void {
const sectionId = this.route.snapshot.paramMap.get('id');
- this.editionService
+ this.editionStateService
.getSelectedEditionSeries()
.pipe(
takeUntil(this._destroyed$),
filter(series => !!series)
)
.subscribe(series => {
- this.selectedSeries = series;
- const seriesId = series.series.route;
- this.selectedSection = EditionOutlineService.getEditionSectionById(seriesId, sectionId);
- this.editionService.updateSelectedEditionSection(this.selectedSection);
+ const seriesId = series?.series?.route;
+ const selectedSection = EditionOutlineService.getEditionSectionById(seriesId, sectionId);
+ this.editionStateService.updateSelectedEditionSection(selectedSection);
});
}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.module.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.module.ts
new file mode 100644
index 0000000000..46daa26c28
--- /dev/null
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.module.ts
@@ -0,0 +1,29 @@
+import { NgModule } from '@angular/core';
+import { SharedModule } from '@awg-shared/shared.module';
+
+import { EditionSectionDetailComplexCardComponent } from './edition-section-detail-complex-card';
+import { EditionSectionDetailDisclaimerComponent } from './edition-section-detail-disclaimer';
+import { EditionSectionDetailIntroCardComponent } from './edition-section-detail-intro-card';
+import { EditionSectionDetailPlaceholderComponent } from './edition-section-detail-placeholder';
+
+import {
+ EditionSectionDetailRoutingModule,
+ routedEditionSectionDetailComponents,
+} from './edition-section-detail-routing.module';
+
+/**
+ * The edition section detail module.
+ *
+ * It embeds the edition section detail components.
+ */
+@NgModule({
+ imports: [SharedModule, EditionSectionDetailRoutingModule],
+ declarations: [
+ EditionSectionDetailComplexCardComponent,
+ EditionSectionDetailDisclaimerComponent,
+ EditionSectionDetailIntroCardComponent,
+ EditionSectionDetailPlaceholderComponent,
+ routedEditionSectionDetailComponents,
+ ],
+})
+export class EditionSectionDetailModule {}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.html b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.html
index 6fc8db9fbc..f88c159689 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.html
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.html
@@ -1,20 +1,41 @@
@if (selectedSeries$ | async; as selectedSeries) {
-
+
@for (section of selectedSeries.sections; track $index) {
-
-
-
- {{ section.section.full }}
-
-
-
- Mehr ...
-
+
+
+ @if (!section.disabled) {
+
+ ![In Vorbereitung]( "AWG {{ selectedSeries.series.short }}/{{ section.section.short }}")
+
+ }
+
+
+
+ {{ section.section.full }}
+
+
+
+
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.scss b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.scss
index e69de29bb2..49ce80a74e 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.scss
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.scss
@@ -0,0 +1,15 @@
+@media (max-width: 768px) {
+ .awg-img-container {
+ max-height: 150px;
+ overflow: hidden;
+ border-right: 1px solid var(--bs-card-border-color);
+ }
+ img {
+ object-fit: contain;
+ height: 100%;
+ }
+}
+
+.awg-card-border-top {
+ border-top: 1px solid var(--bs-card-border-color);
+}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.spec.ts
index 26e85bc3b9..dc7b1f3356 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.spec.ts
@@ -15,8 +15,8 @@ import {
} from '@testing/expect-helper';
import { RouterLinkStubDirective } from '@testing/router-stubs';
-import { EditionOutlineSection, EditionOutlineSeries } from '@awg-app/views/edition-view/models';
-import { EditionComplexesService, EditionOutlineService, EditionService } from '@awg-app/views/edition-view/services';
+import { EditionOutlineSection, EditionOutlineSeries } from '@awg-views/edition-view/models';
+import { EditionComplexesService, EditionOutlineService, EditionStateService } from '@awg-views/edition-view/services';
import { EditionSectionsComponent } from './edition-sections.component';
@@ -25,12 +25,12 @@ describe('EditionSectionsComponent (DONE)', () => {
let fixture: ComponentFixture;
let compDe: DebugElement;
- let mockEditionService: Partial;
+ let mockEditionStateService: Partial;
let clearSelectedSectionSpy: Spy;
let getSeriesSpy: Spy;
- let editionServiceClearSelectedEditionSectionSpy: Spy;
- let editionServiceGetSelectedEditionSeriesSpy: Spy;
+ let editionStateServiceClearSelectedEditionSectionSpy: Spy;
+ let editionStateServiceGetSelectedEditionSeriesSpy: Spy;
let expectedSelectedSeries: EditionOutlineSeries;
let expectedSelectedSection: EditionOutlineSection;
@@ -41,15 +41,15 @@ describe('EditionSectionsComponent (DONE)', () => {
});
beforeEach(waitForAsync(() => {
- // Mock edition service
- mockEditionService = {
+ // Mock edition state service
+ mockEditionStateService = {
getSelectedEditionSeries: (): Observable => observableOf(expectedSelectedSeries),
clearSelectedEditionSection: (): void => {},
};
TestBed.configureTestingModule({
declarations: [EditionSectionsComponent, RouterLinkStubDirective],
- providers: [{ provide: EditionService, useValue: mockEditionService }],
+ providers: [{ provide: EditionStateService, useValue: mockEditionStateService }],
}).compileComponents();
}));
@@ -68,12 +68,12 @@ describe('EditionSectionsComponent (DONE)', () => {
clearSelectedSectionSpy = spyOn(component, 'clearSelectedSection').and.callThrough();
getSeriesSpy = spyOn(component, 'getSeries').and.callThrough();
- editionServiceClearSelectedEditionSectionSpy = spyOn(
- mockEditionService,
+ editionStateServiceClearSelectedEditionSectionSpy = spyOn(
+ mockEditionStateService,
'clearSelectedEditionSection'
).and.callThrough();
- editionServiceGetSelectedEditionSeriesSpy = spyOn(
- mockEditionService,
+ editionStateServiceGetSelectedEditionSeriesSpy = spyOn(
+ mockEditionStateService,
'getSelectedEditionSeries'
).and.callThrough();
});
@@ -88,8 +88,8 @@ describe('EditionSectionsComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should not contain one div.row', () => {
- getAndExpectDebugElementByCss(compDe, 'div.row', 0, 0);
+ it('... should not contain one div.awg-edition-sections-grid yet', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-sections-grid', 0, 0);
});
});
});
@@ -115,211 +115,448 @@ describe('EditionSectionsComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should contain one div.row', () => {
- getAndExpectDebugElementByCss(compDe, 'div.row', 1, 1);
+ it('... should contain one div.awg-edition-sections-grid', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-sections-grid', 1, 1);
});
- it('... should contain as many div.cols with div.card as sections', () => {
+ it('... should contain as many div.cols with div.awg-edition-section-card as sections', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
getAndExpectDebugElementByCss(
compDe,
- 'div.col > div.card',
+ 'div.col > div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
});
- describe('... div.card-body', () => {
- it('... should contain one div.card-body in each div.card', () => {
+ it('... should contain one div.row in each div.awg-edition-section-card', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach(cardDe => {
+ getAndExpectDebugElementByCss(cardDe, 'div.row', 1, 1);
+ });
+ });
+
+ describe('... cover image', () => {
+ it('... should contain one div.awg-img-container in each div.awg-edition-section-card for non-disabled sections', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
- cardDes.forEach(cardDe => {
- getAndExpectDebugElementByCss(cardDe, 'div.card-body', 1, 1);
+ cardDes.forEach((cardDe, index) => {
+ const expectedSection = expectedSelectedSeries.sections[index];
+
+ if (!expectedSection.disabled) {
+ getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 1, 1);
+ } else {
+ getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 0, 0);
+ }
});
});
- it('... should contain one h5.card-title per section in div.card-body', () => {
+ it('... should contain one img.card-img-top in each div.awg-img-container for non-disabled sections', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
- cardDes.forEach(cardDe => {
- const bodyDes = getAndExpectDebugElementByCss(cardDe, 'div.card-body', 1, 1);
- const headerDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5.card-title', 1, 1);
- const headerEl = headerDes[0].nativeElement;
+ cardDes.forEach((cardDe, index) => {
+ const expectedSection = expectedSelectedSeries.sections[index];
- expect(headerEl.textContent).toBeDefined();
+ if (!expectedSection.disabled) {
+ const containerDes = getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 1, 1);
+ getAndExpectDebugElementByCss(containerDes[0], 'img.card-img-top', 1, 1);
+ } else {
+ getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 0, 0);
+ getAndExpectDebugElementByCss(cardDe, 'img.card-img-top', 0, 0);
+ }
});
});
- it('... should display the section title in h5.card-title', () => {
+ it('... should have correct src in img.card-img-top for non-disabled sections', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
cardDes.forEach((cardDe, index) => {
- const bodyDes = getAndExpectDebugElementByCss(cardDe, 'div.card-body', 1, 1);
- const headerDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5.card-title', 1, 1);
- const headerEl = headerDes[0].nativeElement;
+ const expectedSection = expectedSelectedSeries.sections[index];
+
+ if (!expectedSection.disabled) {
+ const containerDes = getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 1, 1);
+ const imgDes = getAndExpectDebugElementByCss(containerDes[0], 'img.card-img-top', 1, 1);
+ const imgEl = imgDes[0].nativeElement;
- expectToBe(headerEl.textContent.trim(), expectedSelectedSeries.sections[index].section.full);
+ const expectedSrc =
+ 'assets/img/edition/series/' +
+ expectedSelectedSeries.series.route +
+ '/section/' +
+ expectedSection.section.route +
+ '/cover.jpg';
+
+ expectToContain(imgEl.src, expectedSrc);
+ } else {
+ getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 0, 0);
+ getAndExpectDebugElementByCss(cardDe, 'img.card-img-top', 0, 0);
+ }
});
});
- it('... should mute the section title only if the section is disabled', () => {
+ it('... should have correct alt in img.card-img-top for non-disabled sections', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
cardDes.forEach((cardDe, index) => {
- const bodyDes = getAndExpectDebugElementByCss(cardDe, 'div.card-body', 1, 1);
- const headerDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5.card-title', 1, 1);
- const headerEl = headerDes[0].nativeElement;
+ const expectedSection = expectedSelectedSeries.sections[index];
+
+ if (!expectedSection.disabled) {
+ const containerDes = getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 1, 1);
+ const imgDes = getAndExpectDebugElementByCss(containerDes[0], 'img.card-img-top', 1, 1);
+ const imgEl = imgDes[0].nativeElement;
- if (expectedSelectedSeries.sections[index].disabled) {
- expectToContain(headerEl.classList, 'text-muted');
+ const expectedAlt = 'In Vorbereitung';
+
+ expectToBe(imgEl.alt, expectedAlt);
} else {
- expect(headerEl.classList).not.toContain('text-muted');
+ getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 0, 0);
+ getAndExpectDebugElementByCss(cardDe, 'img.card-img-top', 0, 0);
}
});
});
- });
- describe('... div.card-footer', () => {
- it('... should contain one div.card-footer in each div.card', () => {
+ it('... should have correct title in img.card-img-top for non-disabled sections', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
- cardDes.forEach(cardDe => {
- getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+ cardDes.forEach((cardDe, index) => {
+ const expectedSection = expectedSelectedSeries.sections[index];
+
+ if (!expectedSection.disabled) {
+ const containerDes = getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 1, 1);
+ const imgDes = getAndExpectDebugElementByCss(containerDes[0], 'img.card-img-top', 1, 1);
+ const imgEl = imgDes[0].nativeElement;
+
+ const expectedTitle = `AWG ${expectedSelectedSeries.series.short}/${expectedSection.section.short}`;
+
+ expectToBe(imgEl.title, expectedTitle);
+ } else {
+ getAndExpectDebugElementByCss(cardDe, 'div.awg-img-container', 0, 0);
+ getAndExpectDebugElementByCss(cardDe, 'img.card-img-top', 0, 0);
+ }
});
});
+ });
- it('... should contain one routerLink per section in div.card-footer', () => {
+ describe('... div.awg-edition-section-card-content', () => {
+ it('... should contain one div.awg-edition-section-card-content in each div.awg-edition-section-card', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
cardDes.forEach(cardDe => {
- const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
- getAndExpectDebugElementByDirective(footerDes[0], RouterLinkStubDirective, 1, 1);
+ getAndExpectDebugElementByCss(cardDe, 'div.awg-edition-section-card-content', 1, 1);
});
});
- it('... should have correct routerLink in each div.card-footer', () => {
+ it('... should have class `col-8 col-sm-10` on div.awg-edition-section-card-content if section is not disabled', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
cardDes.forEach((cardDe, index) => {
- const expectedSection = expectedSelectedSeries.sections[index].section;
+ const expectedSection = expectedSelectedSeries.sections[index];
- const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
- const footerLinkDes = getAndExpectDebugElementByDirective(
- footerDes[0],
- RouterLinkStubDirective,
+ const contentDes = getAndExpectDebugElementByCss(
+ cardDe,
+ 'div.awg-edition-section-card-content',
1,
1
);
- const footerLink = footerLinkDes[0].injector.get(RouterLinkStubDirective);
+ const contentEl = contentDes[0].nativeElement;
- const expectedLinkParams = [expectedSection.route];
-
- expectToEqual(footerLink.linkParams, expectedLinkParams);
+ if (!expectedSection.disabled) {
+ expectToContain(contentEl.classList, 'col-8');
+ expectToContain(contentEl.classList, 'col-sm-10');
+ } else {
+ expect(contentEl.classList).not.toContain('col-8');
+ expect(contentEl.classList).not.toContain('col-sm-10');
+ }
});
});
- it('... should display correct text in each routerLink in div.card-footer', () => {
+ it('... should contain one div.card-body in each div.card', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
cardDes.forEach(cardDe => {
- const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
- const footerLinkDes = getAndExpectDebugElementByDirective(
- footerDes[0],
- RouterLinkStubDirective,
+ const contentDes = getAndExpectDebugElementByCss(
+ cardDe,
+ 'div.awg-edition-section-card-content',
1,
1
);
- const footerLinkEl = footerLinkDes[0].nativeElement;
-
- const expectedLinkText = 'Mehr ...';
-
- expectToEqual(footerLinkEl.textContent.trim(), expectedLinkText);
+ getAndExpectDebugElementByCss(contentDes[0], 'div.card-body', 1, 1);
});
});
- it('... should disable routerLink only if section is disabled', () => {
+ it('... should contain one div.card-footer in each div.card', () => {
const expectedSectionsLength = expectedSelectedSeries.sections.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-section-card',
expectedSectionsLength,
expectedSectionsLength
);
- cardDes.forEach((cardDe, index) => {
- const expectedSection = expectedSelectedSeries.sections[index];
-
- const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
- const footerLinkDes = getAndExpectDebugElementByDirective(
- footerDes[0],
- RouterLinkStubDirective,
+ cardDes.forEach(cardDe => {
+ const contentDes = getAndExpectDebugElementByCss(
+ cardDe,
+ 'div.awg-edition-section-card-content',
1,
1
);
- const footerLinkEl = footerLinkDes[0].nativeElement;
+ getAndExpectDebugElementByCss(contentDes[0], 'div.card-footer', 1, 1);
+ });
+ });
- if (expectedSection.disabled) {
- expectToContain(footerLinkEl.classList, 'disabled');
- } else {
- expect(footerLinkEl.classList).not.toContain('disabled');
- }
+ describe('... div.card-body', () => {
+ it('... should add a top border if section is not disabled', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach((cardDe, index) => {
+ const expectedSection = expectedSelectedSeries.sections[index];
+
+ const bodyDes = getAndExpectDebugElementByCss(cardDe, 'div.card-body', 1, 1);
+ const bodyEl = bodyDes[0].nativeElement;
+
+ if (!expectedSection.disabled) {
+ expectToContain(bodyEl.classList, 'awg-card-border-top');
+ } else {
+ expect(bodyEl.classList).not.toContain('awg-card-border-top');
+ }
+ });
+ });
+
+ it('... should contain one h5.card-title per section in div.card-body', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach(cardDe => {
+ const bodyDes = getAndExpectDebugElementByCss(cardDe, 'div.card-body', 1, 1);
+ const headerDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5.card-title', 1, 1);
+ const headerEl = headerDes[0].nativeElement;
+
+ expect(headerEl.textContent).toBeDefined();
+ });
+ });
+
+ it('... should display the section title in h5.card-title', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach((cardDe, index) => {
+ const bodyDes = getAndExpectDebugElementByCss(cardDe, 'div.card-body', 1, 1);
+ const headerDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5.card-title', 1, 1);
+ const headerEl = headerDes[0].nativeElement;
+
+ expectToBe(
+ headerEl.textContent.trim(),
+ expectedSelectedSeries.sections[index].section.full
+ );
+ });
+ });
+
+ it('... should mute the section title only if the section is disabled', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach((cardDe, index) => {
+ const bodyDes = getAndExpectDebugElementByCss(cardDe, 'div.card-body', 1, 1);
+ const headerDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5.card-title', 1, 1);
+ const headerEl = headerDes[0].nativeElement;
+
+ if (expectedSelectedSeries.sections[index].disabled) {
+ expectToContain(headerEl.classList, 'text-muted');
+ } else {
+ expect(headerEl.classList).not.toContain('text-muted');
+ }
+ });
+ });
+ });
+
+ describe('... div.card-footer', () => {
+ it('... should contain one routerLink per section in div.card-footer', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach(cardDe => {
+ const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+ getAndExpectDebugElementByDirective(footerDes[0], RouterLinkStubDirective, 1, 1);
+ });
+ });
+
+ it('... should have correct routerLink in each div.card-footer', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach((cardDe, index) => {
+ const expectedSection = expectedSelectedSeries.sections[index].section;
+
+ const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+ const footerLinkDes = getAndExpectDebugElementByDirective(
+ footerDes[0],
+ RouterLinkStubDirective,
+ 1,
+ 1
+ );
+ const footerLink = footerLinkDes[0].injector.get(RouterLinkStubDirective);
+
+ const expectedLinkParams = [expectedSection.route];
+
+ expectToEqual(footerLink.linkParams, expectedLinkParams);
+ });
+ });
+
+ it('... should display correct text in each routerLink in div.card-footer', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach(cardDe => {
+ const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+ const footerLinkDes = getAndExpectDebugElementByDirective(
+ footerDes[0],
+ RouterLinkStubDirective,
+ 1,
+ 1
+ );
+ const footerLinkEl = footerLinkDes[0].nativeElement;
+
+ const expectedLinkText = 'Mehr ...';
+
+ expectToEqual(footerLinkEl.textContent.trim(), expectedLinkText);
+ });
+ });
+
+ it('... should disable routerLink only if section is disabled', () => {
+ const expectedSectionsLength = expectedSelectedSeries.sections.length;
+
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-section-card',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
+
+ cardDes.forEach((cardDe, index) => {
+ const expectedSection = expectedSelectedSeries.sections[index];
+
+ const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+ const footerLinkDes = getAndExpectDebugElementByDirective(
+ footerDes[0],
+ RouterLinkStubDirective,
+ 1,
+ 1
+ );
+ const footerLinkEl = footerLinkDes[0].nativeElement;
+
+ if (expectedSection.disabled) {
+ expectToContain(footerLinkEl.classList, 'disabled');
+ } else {
+ expect(footerLinkEl.classList).not.toContain('disabled');
+ }
+ });
});
});
});
@@ -330,12 +567,12 @@ describe('EditionSectionsComponent (DONE)', () => {
expect(component.clearSelectedSection).toBeDefined();
});
- it('...should call `clearSelectedEditionSeries` from EditionService', () => {
- expectSpyCall(editionServiceClearSelectedEditionSectionSpy, 1);
+ it('...should call `clearSelectedEditionSeries` from EditionStateService', () => {
+ expectSpyCall(editionStateServiceClearSelectedEditionSectionSpy, 1);
component.clearSelectedSection();
- expectSpyCall(editionServiceClearSelectedEditionSectionSpy, 2);
+ expectSpyCall(editionStateServiceClearSelectedEditionSectionSpy, 2);
});
});
@@ -344,12 +581,12 @@ describe('EditionSectionsComponent (DONE)', () => {
expect(component.getSeries).toBeDefined();
});
- it('...should call `getSelectedEditionSeries` from EditionService', () => {
- expectSpyCall(editionServiceGetSelectedEditionSeriesSpy, 1);
+ it('...should call `getSelectedEditionSeries` from EditionStateService', () => {
+ expectSpyCall(editionStateServiceGetSelectedEditionSeriesSpy, 1);
component.getSeries();
- expectSpyCall(editionServiceGetSelectedEditionSeriesSpy, 2);
+ expectSpyCall(editionStateServiceGetSelectedEditionSeriesSpy, 2);
});
it('...should set `selectedSeries$`', () => {
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.ts
index 1f819f5c2b..d213113a1b 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-sections/edition-sections.component.ts
@@ -3,7 +3,7 @@ import { Component, OnInit } from '@angular/core';
import { Observable } from 'rxjs';
import { EditionOutlineSeries } from '@awg-views/edition-view/models';
-import { EditionService } from '@awg-views/edition-view/services';
+import { EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionSection component.
@@ -26,8 +26,10 @@ export class EditionSectionsComponent implements OnInit {
/**
* Constructor of the EditionSectionsComponent.
+ *
+ * It declares a private instance of the EditionStateService.
*/
- constructor(private editionService: EditionService) {
+ constructor(private editionStateService: EditionStateService) {
// Intentionally left empty until implemented
}
@@ -45,22 +47,22 @@ export class EditionSectionsComponent implements OnInit {
/**
* Public method: clearSelectedSection.
*
- * It clears the selected section from the EditionService.
+ * It clears the selected section from the EditionStateService.
*
* @returns {void} Clears the edition section.
*/
clearSelectedSection(): void {
- this.editionService.clearSelectedEditionSection();
+ this.editionStateService.clearSelectedEditionSection();
}
/**
* Public method: getSeries.
*
- * It gets the selected series from the EditionService.
+ * It gets the selected series from the EditionStateService.
*
* @returns {void} Gets the edition series.
*/
getSeries(): void {
- this.selectedSeries$ = this.editionService.getSelectedEditionSeries();
+ this.selectedSeries$ = this.editionStateService.getSelectedEditionSeries();
}
}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-series-detail.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-series-detail.component.spec.ts
index 04da1efb5e..f566c697e7 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-series-detail.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-series-detail.component.spec.ts
@@ -5,7 +5,7 @@ import { ActivatedRoute, RouterModule } from '@angular/router';
import { ActivatedRouteStub } from '@testing/router-stubs';
import { EditionOutlineSeries } from '@awg-views/edition-view/models';
-import { EditionService } from '@awg-views/edition-view/services';
+import { EditionStateService } from '@awg-views/edition-view/services';
import { EditionSeriesDetailComponent } from './edition-series-detail.component';
@@ -14,13 +14,13 @@ describe('EditionSeriesDetailComponent', () => {
let fixture: ComponentFixture;
let compDe: DebugElement;
- let mockEditionService: Partial;
+ let mockEditionStateService: Partial;
let expectedEditionSeries: EditionOutlineSeries;
beforeEach(async () => {
- // Mock edition service
- mockEditionService = {
+ // Mock edition state service
+ mockEditionStateService = {
updateSelectedEditionSeries: (editionSeries: EditionOutlineSeries): void => {},
};
@@ -32,7 +32,7 @@ describe('EditionSeriesDetailComponent', () => {
declarations: [EditionSeriesDetailComponent],
providers: [
{ provide: ActivatedRoute, useValue: mockActivatedRoute },
- { provide: EditionService, useValue: mockEditionService },
+ { provide: EditionStateService, useValue: mockEditionStateService },
],
}).compileComponents();
});
diff --git a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-series-detail.component.ts b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-series-detail.component.ts
index 9276cc5dc5..d1c2d3937a 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-series-detail.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series-detail/edition-series-detail.component.ts
@@ -2,7 +2,7 @@ import { Component, OnInit } from '@angular/core';
import { ActivatedRoute } from '@angular/router';
import { EditionOutlineSeries } from '@awg-views/edition-view/models';
-import { EditionOutlineService, EditionService } from '@awg-views/edition-view/services';
+import { EditionOutlineService, EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionSeriesDetail component.
@@ -26,14 +26,14 @@ export class EditionSeriesDetailComponent implements OnInit {
/**
* Constructor of the EditionSeriesDetailComponent.
*
- * It declares private instances of the Angular ActivatedRoute and the EditionService.
+ * It declares private instances of the Angular ActivatedRoute and the EditionStateService.
*
* @param {ActivatedRoute} route Instance of the ActivatedRoute.
- * @param {EditionService} editionService Instance of the EditionService.
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
*/
constructor(
private route: ActivatedRoute,
- private editionService: EditionService
+ private editionStateService: EditionStateService
) {
// Intentionally left empty until implemented
}
@@ -51,7 +51,8 @@ export class EditionSeriesDetailComponent implements OnInit {
/**
* Public method: updateSeriesFromRoute.
*
- * It fetches the route params to get the id of the current series and updates the edition service.
+ * It fetches the route params to get the id of the current series
+ * and updates the EditionStateService.
*
* @returns {void} Updates the edition series.
*/
@@ -59,6 +60,6 @@ export class EditionSeriesDetailComponent implements OnInit {
const id = this.route.snapshot.paramMap.get('id');
this.selectedSeries = EditionOutlineService.getEditionSeriesById(id);
- this.editionService.updateSelectedEditionSeries(this.selectedSeries);
+ this.editionStateService.updateSelectedEditionSeries(this.selectedSeries);
}
}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.html b/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.html
index ef930c38d4..5bc2b3586a 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.html
+++ b/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.html
@@ -1,31 +1,50 @@
@if (editionOutline) {
-
- @for (series of editionOutline; track $index) {
-
-
-
- {{ series.series.full }}
-
-
-
- @for (section of series.sections; track $index) {
- -
- @if (!section.disabled) {
- {{
- section.section.full
- }}
- } @else {
- {{ section.section.full }}
- }
-
- }
-
-
-
}
diff --git a/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.spec.ts
index b77cf5fe2c..771e48444c 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.spec.ts
@@ -16,7 +16,7 @@ import { RouterLinkStubDirective } from '@testing/router-stubs';
import { EDITION_ROUTE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
import { EditionOutlineSeries } from '@awg-views/edition-view/models';
-import { EditionComplexesService, EditionOutlineService, EditionService } from '@awg-views/edition-view/services';
+import { EditionComplexesService, EditionOutlineService, EditionStateService } from '@awg-views/edition-view/services';
import { EditionSeriesComponent } from './edition-series.component';
@@ -25,7 +25,7 @@ describe('EditionSeriesComponent (DONE)', () => {
let fixture: ComponentFixture;
let compDe: DebugElement;
- let mockEditionService: Partial;
+ let mockEditionStateService: Partial;
let clearSelectionsSpy: Spy;
let getEditionOutlineSpy: Spy;
@@ -41,15 +41,15 @@ describe('EditionSeriesComponent (DONE)', () => {
});
beforeEach(waitForAsync(() => {
- // Mock edition service
- mockEditionService = {
+ // Mock edition state service
+ mockEditionStateService = {
clearSelectedEditionSeries: () => {},
clearSelectedEditionSection: () => {},
};
TestBed.configureTestingModule({
declarations: [EditionSeriesComponent, RouterLinkStubDirective],
- providers: [{ provide: EditionService, useValue: mockEditionService }],
+ providers: [{ provide: EditionStateService, useValue: mockEditionStateService }],
}).compileComponents();
}));
@@ -65,11 +65,11 @@ describe('EditionSeriesComponent (DONE)', () => {
clearSelectionsSpy = spyOn(component, 'clearSelections').and.callThrough();
getEditionOutlineSpy = spyOn(component, 'getEditionOutline').and.callThrough();
serviceClearSelectedEditionSeriesSpy = spyOn(
- mockEditionService,
+ mockEditionStateService,
'clearSelectedEditionSeries'
).and.callThrough();
serviceClearSelectedEditionSectionSpy = spyOn(
- mockEditionService,
+ mockEditionStateService,
'clearSelectedEditionSection'
).and.callThrough();
serviceGetEditionOutlineSpy = spyOn(EditionOutlineService, 'getEditionOutline').and.callThrough();
@@ -80,8 +80,8 @@ describe('EditionSeriesComponent (DONE)', () => {
});
it('... injected service should use provided mockValue', () => {
- const editionService = TestBed.inject(EditionService);
- expectToBe(mockEditionService === editionService, true);
+ const editionStateService = TestBed.inject(EditionStateService);
+ expectToBe(mockEditionStateService === editionStateService, true);
});
describe('BEFORE initial data binding', () => {
@@ -90,8 +90,8 @@ describe('EditionSeriesComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should not contain one div.row', () => {
- getAndExpectDebugElementByCss(compDe, 'div.row', 0, 0);
+ it('... should not contain one div.awg-edition-series-grid yet', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series-grid', 0, 0);
});
});
});
@@ -117,19 +117,34 @@ describe('EditionSeriesComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should contain one div.row', () => {
- getAndExpectDebugElementByCss(compDe, 'div.row', 1, 1);
+ it('... should contain one `div.awg-edition-series`', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series', 1, 1);
});
- it('... should contain as many div.col in div.row as there are series', () => {
+ it('... should contain one `div.awg-edition-series-text` in `div.awg-edition-series`', () => {
+ const seriesDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series', 1, 1);
+ getAndExpectDebugElementByCss(seriesDes[0], 'div.awg-edition-series-text', 1, 1);
+ });
+
+ it('... should contain two paragraphs in `div.awg-edition-series-text`', () => {
+ const textDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series-text', 1, 1);
+ getAndExpectDebugElementByCss(textDes[0], 'p', 2, 2);
+ });
+
+ it('... should contain one `div.awg-edition-series-grid` in `div.awg-edition-series`', () => {
+ const seriesDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series', 1, 1);
+ getAndExpectDebugElementByCss(seriesDes[0], 'div.awg-edition-series-grid', 1, 1);
+ });
+
+ it('... should contain as many div.col in `div.awg-edition-series-grid` as there are series', () => {
const expectedSeriesLength = expectedEditionOutline.length;
- const rowDes = getAndExpectDebugElementByCss(compDe, 'div.row', 1, 1);
+ const gridDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series-grid', 1, 1);
- getAndExpectDebugElementByCss(rowDes[0], 'div.col', expectedSeriesLength, expectedSeriesLength);
+ getAndExpectDebugElementByCss(gridDes[0], 'div.col', expectedSeriesLength, expectedSeriesLength);
});
- it('... should contain a div.card in each div.col', () => {
+ it('... should contain a div.awg-edition-series-card in each div.col', () => {
const expectedSeriesLength = expectedEditionOutline.length;
const colDes = getAndExpectDebugElementByCss(
@@ -140,16 +155,16 @@ describe('EditionSeriesComponent (DONE)', () => {
);
colDes.forEach(colDe => {
- getAndExpectDebugElementByCss(colDe, 'div.card', 1, 1);
+ getAndExpectDebugElementByCss(colDe, 'div.awg-edition-series-card', 1, 1);
});
});
- it('... should contain a h5.card-header in each div.card', () => {
+ it('... should contain a h5.card-header in each div.awg-edition-series-card', () => {
const expectedSeriesLength = expectedEditionOutline.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-series-card',
expectedSeriesLength,
expectedSeriesLength
);
@@ -164,7 +179,7 @@ describe('EditionSeriesComponent (DONE)', () => {
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-series-card',
expectedSeriesLength,
expectedSeriesLength
);
@@ -178,12 +193,12 @@ describe('EditionSeriesComponent (DONE)', () => {
});
});
- it('... should contain a div.card-body in each div.card', () => {
+ it('... should contain a div.card-body in each div.awg-edition-series-card', () => {
const expectedSeriesLength = expectedEditionOutline.length;
const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card',
+ 'div.awg-edition-series-card',
expectedSeriesLength,
expectedSeriesLength
);
@@ -193,218 +208,222 @@ describe('EditionSeriesComponent (DONE)', () => {
});
});
- it('... should contain a ul.list-group in each div.card-body', () => {
+ it('... should contain a div.card-footer in each div.awg-edition-series-card', () => {
const expectedSeriesLength = expectedEditionOutline.length;
- const cardBodyDes = getAndExpectDebugElementByCss(
+ const cardDes = getAndExpectDebugElementByCss(
compDe,
- 'div.card-body',
+ 'div.awg-edition-series-card',
expectedSeriesLength,
expectedSeriesLength
);
- cardBodyDes.forEach(cardBodyDe => {
- getAndExpectDebugElementByCss(cardBodyDe, 'ul.list-group', 1, 1);
+ cardDes.forEach((cardDe, _index) => {
+ getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
});
});
- it('... should contain as many li.list-group-item in ul.list-group as there are sections in a series', () => {
- const expectedSeriesLength = expectedEditionOutline.length;
+ describe('... div.card-body', () => {
+ it('... should contain a ul.list-group in each div.card-body', () => {
+ const expectedSeriesLength = expectedEditionOutline.length;
- const ulDes = getAndExpectDebugElementByCss(
- compDe,
- 'ul.list-group',
- expectedSeriesLength,
- expectedSeriesLength
- );
-
- ulDes.forEach((ulDe, index) => {
- const expectedSectionsLength = expectedEditionOutline[index].sections.length;
-
- getAndExpectDebugElementByCss(
- ulDe,
- 'li.list-group-item',
- expectedSectionsLength,
- expectedSectionsLength
+ const cardBodyDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.card-body',
+ expectedSeriesLength,
+ expectedSeriesLength
);
- });
- });
- it('... should display section name in each li.list-group-item', () => {
- const expectedSeriesLength = expectedEditionOutline.length;
-
- const ulDes = getAndExpectDebugElementByCss(
- compDe,
- 'ul.list-group',
- expectedSeriesLength,
- expectedSeriesLength
- );
+ cardBodyDes.forEach(cardBodyDe => {
+ getAndExpectDebugElementByCss(cardBodyDe, 'ul.list-group', 1, 1);
+ });
+ });
- ulDes.forEach((ulDe, index) => {
- const expectedSections = expectedEditionOutline[index].sections;
+ it('... should contain as many li.list-group-item in ul.list-group as there are sections in a series', () => {
+ const expectedSeriesLength = expectedEditionOutline.length;
- const liDes = getAndExpectDebugElementByCss(
- ulDe,
- 'li.list-group-item',
- expectedSections.length,
- expectedSections.length
+ const ulDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'ul.list-group',
+ expectedSeriesLength,
+ expectedSeriesLength
);
- liDes.forEach((liDe, liIndex) => {
- const expectedSection = expectedSections[liIndex].section;
- const liEl = liDe.nativeElement;
+ ulDes.forEach((ulDe, index) => {
+ const expectedSectionsLength = expectedEditionOutline[index].sections.length;
- expectToBe(liEl.textContent.trim(), expectedSection.full);
+ getAndExpectDebugElementByCss(
+ ulDe,
+ 'li.list-group-item',
+ expectedSectionsLength,
+ expectedSectionsLength
+ );
});
});
- });
- it('... should contain a routerLink and no span.text-muted in li.list-group-item if section is not disabled', () => {
- const expectedSeriesLength = expectedEditionOutline.length;
+ it('... should display section name in each li.list-group-item', () => {
+ const expectedSeriesLength = expectedEditionOutline.length;
- const ulDes = getAndExpectDebugElementByCss(
- compDe,
- 'ul.list-group',
- expectedSeriesLength,
- expectedSeriesLength
- );
+ const ulDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'ul.list-group',
+ expectedSeriesLength,
+ expectedSeriesLength
+ );
- ulDes.forEach((ulDe, index) => {
- const expectedSections = expectedEditionOutline[index].sections;
+ ulDes.forEach((ulDe, index) => {
+ const expectedSections = expectedEditionOutline[index].sections;
- const liDes = getAndExpectDebugElementByCss(
- ulDe,
- 'li.list-group-item',
- expectedSections.length,
- expectedSections.length
- );
+ const liDes = getAndExpectDebugElementByCss(
+ ulDe,
+ 'li.list-group-item',
+ expectedSections.length,
+ expectedSections.length
+ );
- liDes.forEach((liDe, liIndex) => {
- const expectedSection = expectedSections[liIndex];
+ liDes.forEach((liDe, liIndex) => {
+ const expectedSection = expectedSections[liIndex].section;
+ const liEl = liDe.nativeElement;
- if (!expectedSection.disabled) {
- getAndExpectDebugElementByDirective(liDe, RouterLinkStubDirective, 1, 1);
- getAndExpectDebugElementByCss(liDe, 'span.text-muted', 0, 0);
- }
+ expectToBe(liEl.textContent.trim(), expectedSection.full);
+ });
});
});
- });
- it('... should contain no router link, but a span.text-muted in li.list-group-item if section is disabled', () => {
- const expectedSeriesLength = expectedEditionOutline.length;
+ it('... should contain a routerLink and no span.text-muted in li.list-group-item if section is not disabled', () => {
+ const expectedSeriesLength = expectedEditionOutline.length;
- const ulDes = getAndExpectDebugElementByCss(
- compDe,
- 'ul.list-group',
- expectedSeriesLength,
- expectedSeriesLength
- );
+ const ulDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'ul.list-group',
+ expectedSeriesLength,
+ expectedSeriesLength
+ );
- ulDes.forEach((ulDe, index) => {
- const expectedSections = expectedEditionOutline[index].sections;
+ ulDes.forEach((ulDe, index) => {
+ const expectedSections = expectedEditionOutline[index].sections;
- const liDes = getAndExpectDebugElementByCss(
- ulDe,
- 'li.list-group-item',
- expectedSections.length,
- expectedSections.length
- );
+ const liDes = getAndExpectDebugElementByCss(
+ ulDe,
+ 'li.list-group-item',
+ expectedSections.length,
+ expectedSections.length
+ );
- liDes.forEach((liDe, liIndex) => {
- const expectedSection = expectedSections[liIndex];
+ liDes.forEach((liDe, liIndex) => {
+ const expectedSection = expectedSections[liIndex];
- if (expectedSection.disabled) {
- getAndExpectDebugElementByDirective(liDe, RouterLinkStubDirective, 0, 0);
- getAndExpectDebugElementByCss(liDe, 'span.text-muted', 1, 1);
- }
+ if (!expectedSection.disabled) {
+ getAndExpectDebugElementByDirective(liDe, RouterLinkStubDirective, 1, 1);
+ getAndExpectDebugElementByCss(liDe, 'span.text-muted', 0, 0);
+ }
+ });
});
});
- });
- it('... should contain a div.card-footer in each div.card', () => {
- const expectedSeriesLength = expectedEditionOutline.length;
+ it('... should contain no router link, but a span.text-muted in li.list-group-item if section is disabled', () => {
+ const expectedSeriesLength = expectedEditionOutline.length;
- const cardDes = getAndExpectDebugElementByCss(
- compDe,
- 'div.card',
- expectedSeriesLength,
- expectedSeriesLength
- );
+ const ulDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'ul.list-group',
+ expectedSeriesLength,
+ expectedSeriesLength
+ );
- cardDes.forEach((cardDe, _index) => {
- getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
- });
- });
+ ulDes.forEach((ulDe, index) => {
+ const expectedSections = expectedEditionOutline[index].sections;
- it('... should contain a routerLink in each div.card-footer', () => {
- const expectedSeriesLength = expectedEditionOutline.length;
+ const liDes = getAndExpectDebugElementByCss(
+ ulDe,
+ 'li.list-group-item',
+ expectedSections.length,
+ expectedSections.length
+ );
- const cardDes = getAndExpectDebugElementByCss(
- compDe,
- 'div.card',
- expectedSeriesLength,
- expectedSeriesLength
- );
+ liDes.forEach((liDe, liIndex) => {
+ const expectedSection = expectedSections[liIndex];
- cardDes.forEach((cardDe, _index) => {
- const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
- getAndExpectDebugElementByDirective(footerDes[0], RouterLinkStubDirective, 1, 1);
+ if (expectedSection.disabled) {
+ getAndExpectDebugElementByDirective(liDe, RouterLinkStubDirective, 0, 0);
+ getAndExpectDebugElementByCss(liDe, 'span.text-muted', 1, 1);
+ }
+ });
+ });
});
});
- it('... should have correct routerLink in each div.card-footer', () => {
- const expectedSeriesLength = expectedEditionOutline.length;
+ describe('... div.card-footer', () => {
+ it('... should contain a routerLink in each div.card-footer', () => {
+ const expectedSeriesLength = expectedEditionOutline.length;
- const cardDes = getAndExpectDebugElementByCss(
- compDe,
- 'div.card',
- expectedSeriesLength,
- expectedSeriesLength
- );
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series-card',
+ expectedSeriesLength,
+ expectedSeriesLength
+ );
- cardDes.forEach((cardDe, index) => {
- const expectedSeries = expectedEditionOutline[index].series;
+ cardDes.forEach((cardDe, _index) => {
+ const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+ getAndExpectDebugElementByDirective(footerDes[0], RouterLinkStubDirective, 1, 1);
+ });
+ });
- const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+ it('... should have correct routerLink in each div.card-footer', () => {
+ const expectedSeriesLength = expectedEditionOutline.length;
- const footerLinkDes = getAndExpectDebugElementByDirective(
- footerDes[0],
- RouterLinkStubDirective,
- 1,
- 1
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series-card',
+ expectedSeriesLength,
+ expectedSeriesLength
);
- const footerLink = footerLinkDes[0].injector.get(RouterLinkStubDirective);
- const expectedLinkParams = [expectedSeries.route];
+ cardDes.forEach((cardDe, index) => {
+ const expectedSeries = expectedEditionOutline[index].series;
- expectToEqual(footerLink.linkParams, expectedLinkParams);
- });
- });
+ const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
- it('... should display correct text in each routerLink in div.card-footer', () => {
- const expectedSeriesLength = expectedEditionOutline.length;
+ const footerLinkDes = getAndExpectDebugElementByDirective(
+ footerDes[0],
+ RouterLinkStubDirective,
+ 1,
+ 1
+ );
+ const footerLink = footerLinkDes[0].injector.get(RouterLinkStubDirective);
- const cardDes = getAndExpectDebugElementByCss(
- compDe,
- 'div.card',
- expectedSeriesLength,
- expectedSeriesLength
- );
+ const expectedLinkParams = [expectedSeries.route];
- cardDes.forEach((cardDe, _index) => {
- const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+ expectToEqual(footerLink.linkParams, expectedLinkParams);
+ });
+ });
+
+ it('... should display correct text in each routerLink in div.card-footer', () => {
+ const expectedSeriesLength = expectedEditionOutline.length;
- const footerLinkDes = getAndExpectDebugElementByDirective(
- footerDes[0],
- RouterLinkStubDirective,
- 1,
- 1
+ const cardDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.card',
+ expectedSeriesLength,
+ expectedSeriesLength
);
- const footerLinkEl = footerLinkDes[0].nativeElement;
- const expectedLinkText = 'Mehr ...';
+ cardDes.forEach((cardDe, _index) => {
+ const footerDes = getAndExpectDebugElementByCss(cardDe, 'div.card-footer', 1, 1);
+
+ const footerLinkDes = getAndExpectDebugElementByDirective(
+ footerDes[0],
+ RouterLinkStubDirective,
+ 1,
+ 1
+ );
+ const footerLinkEl = footerLinkDes[0].nativeElement;
- expectToBe(footerLinkEl.textContent.trim(), expectedLinkText);
+ const expectedLinkText = 'Mehr ...';
+
+ expectToBe(footerLinkEl.textContent.trim(), expectedLinkText);
+ });
});
});
});
@@ -494,7 +513,7 @@ describe('EditionSeriesComponent (DONE)', () => {
expect(component.clearSelections).toBeDefined();
});
- it('...should call `clearSelectedEditionSeries` from EditionService', () => {
+ it('...should call `clearSelectedEditionSeries` from EditionStateService', () => {
expectSpyCall(serviceClearSelectedEditionSectionSpy, 1);
component.clearSelections();
@@ -502,7 +521,7 @@ describe('EditionSeriesComponent (DONE)', () => {
expectSpyCall(serviceClearSelectedEditionSeriesSpy, 2);
});
- it('...should call `clearSelectedEditionSection` from EditionService', () => {
+ it('...should call `clearSelectedEditionSection` from EditionStateService', () => {
expectSpyCall(serviceClearSelectedEditionSectionSpy, 1);
component.clearSelections();
@@ -516,7 +535,7 @@ describe('EditionSeriesComponent (DONE)', () => {
expect(component.getEditionOutline).toBeDefined();
});
- it('...should call `getEditionOutline` from EditionService', () => {
+ it('...should call `getEditionOutline` from EditionStateService', () => {
expectSpyCall(serviceGetEditionOutlineSpy, 1);
component.getEditionOutline();
diff --git a/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.ts b/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.ts
index fc98132447..6d4d01ade2 100644
--- a/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-series/edition-series.component.ts
@@ -1,7 +1,7 @@
import { Component, OnInit } from '@angular/core';
import { EditionOutlineSeries } from '@awg-views/edition-view/models';
-import { EditionOutlineService, EditionService } from '@awg-views/edition-view/services';
+import { EditionOutlineService, EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionSeries component.
@@ -25,11 +25,11 @@ export class EditionSeriesComponent implements OnInit {
/**
* Constructor of the EditionSeriesComponent.
*
- * It declares a private instance of the EditionService.
+ * It declares a private instance of the EditionStateService.
*
- * @param {EditionService} editionService Instance of the EditionService.
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
*/
- constructor(private editionService: EditionService) {
+ constructor(private editionStateService: EditionStateService) {
// Intentionally left empty until implemented
}
@@ -47,19 +47,19 @@ export class EditionSeriesComponent implements OnInit {
/**
* Public method: clearSelectedSeries.
*
- * It clears the selected series from the EditionService.
+ * It clears the selected series from the EditionStateService.
*
* @returns {void} Clears the edition series.
*/
clearSelections(): void {
- this.editionService.clearSelectedEditionSeries();
- this.editionService.clearSelectedEditionSection();
+ this.editionStateService.clearSelectedEditionSeries();
+ this.editionStateService.clearSelectedEditionSection();
}
/**
* Public method: getEditionOutline.
*
- * It gets the outline with array of series from the EditionService.
+ * It gets the outline with array of series from the EditionStateService.
*
* @returns {void} Gets the edition outline.
*/
diff --git a/src/app/views/edition-view/edition-route-constants.ts b/src/app/views/edition-view/edition-route-constants.ts
index fd2b7a7acb..a5f384850c 100644
--- a/src/app/views/edition-view/edition-route-constants.ts
+++ b/src/app/views/edition-view/edition-route-constants.ts
@@ -152,7 +152,7 @@ export class EDITION_ROUTE_CONSTANTS {
* The route constant for the series.
*/
static readonly SECTION: EditionRouteConstant = {
- route: '/section/',
+ route: 'section',
short: 'Abteilung',
full: 'Abteilungsübersicht',
};
@@ -244,7 +244,7 @@ export class EDITION_ROUTE_CONSTANTS {
static readonly EDITION_INTRO: EditionRouteConstant = {
route: 'intro',
short: 'Einleitung',
- full: 'Einleitung',
+ full: 'Einleitung / Introduction',
};
/**
diff --git a/src/app/views/edition-view/edition-view-routing.module.ts b/src/app/views/edition-view/edition-view-routing.module.ts
index 2dca199d76..6545340e26 100644
--- a/src/app/views/edition-view/edition-view-routing.module.ts
+++ b/src/app/views/edition-view/edition-view-routing.module.ts
@@ -1,20 +1,40 @@
import { NgModule } from '@angular/core';
import { RouterModule, Routes } from '@angular/router';
+import { EditionInfoComponent } from '@awg-side-info/edition-info/edition-info.component';
+
import { EditionComplexComponent } from './edition-outlets/edition-complex';
import { EditionDetailNavComponent } from './edition-outlets/edition-complex/edition-detail/edition-detail-nav/edition-detail-nav.component';
import { EditionSeriesComponent } from './edition-outlets/edition-series';
import { EditionSeriesDetailComponent } from './edition-outlets/edition-series-detail';
-import { EditionSectionDetailComponent } from './edition-outlets/edition-series-detail/edition-section-detail';
import { EditionSectionsComponent } from './edition-outlets/edition-series-detail/edition-sections';
import { EditionViewComponent } from './edition-view.component';
/* Routes of the EditionViewModule */
const EDITION_VIEW_ROUTES: Routes = [
+ {
+ path: '',
+ outlet: 'side',
+ component: EditionInfoComponent,
+ },
{
path: '',
component: EditionViewComponent,
children: [
+ {
+ path: 'preface',
+ loadChildren: () =>
+ import('./edition-outlets/edition-preface/edition-preface.module').then(
+ m => m.EditionPrefaceModule
+ ),
+ },
+ {
+ path: 'row-tables',
+ loadChildren: () =>
+ import('./edition-outlets/edition-row-tables/edition-row-tables.module').then(
+ m => m.EditionRowTablesModule
+ ),
+ },
{
// Overview of series.
path: 'series',
@@ -33,7 +53,10 @@ const EDITION_VIEW_ROUTES: Routes = [
{
// Section by id (1, 2, 3, 4, 5).
path: 'section/:id',
- component: EditionSectionDetailComponent,
+ loadChildren: () =>
+ import(
+ './edition-outlets/edition-series-detail/edition-section-detail/edition-section-detail.module'
+ ).then(m => m.EditionSectionDetailModule),
},
{
path: 'sections/:id',
@@ -89,27 +112,6 @@ const EDITION_VIEW_ROUTES: Routes = [
'./edition-outlets/edition-complex/edition-detail/edition-graph/edition-graph.module'
).then(m => m.EditionGraphModule),
},
- /*
- Path: 'workedition',
- loadChildren: () =>
- import(
- './edition-outlets/edition-complex/edition-detail/edition-workedition/edition-workedition.module'
- ).then(m => m.EditionWorkeditionModule),
- },
- {
- path: 'texteditions',
- loadChildren: () =>
- import(
- './edition-outlets/edition-complex/edition-detail/edition-texteditions/edition-texteditions.module'
- ).then(m => m.EditionTexteditionModule),
- },
- {
- path: 'sketches',
- loadChildren: () =>
- import(
- './edition-outlets/edition-complex/edition-detail/edition-sketches/edition-sketches.module'
- ).then(m => m.EditionSketchesModule),
- },*/
{
path: '',
redirectTo: 'sheets',
@@ -119,35 +121,23 @@ const EDITION_VIEW_ROUTES: Routes = [
},
],
},
- {
- path: 'preface',
- loadChildren: () =>
- import('./edition-outlets/edition-preface/edition-preface.module').then(
- m => m.EditionPrefaceModule
- ),
- },
- {
- path: 'row-tables',
- loadChildren: () =>
- import('./edition-outlets/edition-row-tables/edition-row-tables.module').then(
- m => m.EditionRowTablesModule
- ),
- },
],
},
];
/**
* Routed components of the {@link EditionViewModule}:
- * {@link EditionViewComponent}, {@link EditionDetailNavComponent},
- * {@link EditionSectionsComponent} and {@link EditionSeriesComponent}.
+ * {@link EditionViewComponent}, {@link EditionComplexComponent},
+ * {@link EditionDetailNavComponent}, {@link EditionInfoComponent},
+ * {@link EditionSectionsComponent}, {@link EditionSeriesComponent},
+ * and {@link EditionSeriesDetailComponent}.
*/
export const routedEditionViewComponents = [
EditionViewComponent,
EditionComplexComponent,
EditionDetailNavComponent,
+ EditionInfoComponent,
EditionSectionsComponent,
- EditionSectionDetailComponent,
EditionSeriesComponent,
EditionSeriesDetailComponent,
];
diff --git a/src/app/views/edition-view/edition-view.component.html b/src/app/views/edition-view/edition-view.component.html
index a587134840..f46babddf2 100644
--- a/src/app/views/edition-view/edition-view.component.html
+++ b/src/app/views/edition-view/edition-view.component.html
@@ -1,6 +1,5 @@
-
-
+
}
- @if (
- (selectedEditionComplex$ | async) === null &&
- (isRowTableView$ | async) === null &&
- (isPrefaceView$ | async) === null
- ) {
-
-
-
- {{ editionRouteConstants.EDITION?.short }}
-
-
- @if (selectedEditionSeries$ | async; as selectedSeries) {
-
- {{ selectedSeries?.series.full }}
-
-
-
-
-
-
@@ -101,6 +56,8 @@
]">
{{ selectedEditionComplex.pubStatement.section.full }}
+ /
+
}
+ @if (
+ (selectedEditionComplex$ | async) === null &&
+ (isRowTableView$ | async) === null &&
+ (isPrefaceView$ | async) === null
+ ) {
+
+
+
+ {{ editionRouteConstants.EDITION?.short }}
+
+
+ @if (selectedEditionSeries$ | async; as selectedSeries) {
+
+ {{ selectedSeries?.series.full }}
+
+
+
+
+ {{ selectedSection?.section.full }}
+
+
+
+
+
+ ;
let compDe: DebugElement;
- let mockRouter;
- let mockActivatedRoute: ActivatedRouteStub;
- let mockEditionService: Partial;
+ let mockDocument: Document;
+
+ let mockEditionStateService: Partial;
let setupEditionViewSpy: Spy;
- let routeToSidenavSpy: Spy;
- let editionServiceGetSelectedEditionComplexSpy: Spy;
- let editionServiceGetSelectedEditionSeriesSpy: Spy;
- let editionServiceGetSelectedEditionSectionSpy: Spy;
- let editionServiceGetIsPrefaceViewSpy: Spy;
- let editionServiceGetIsRowTableViewSpy: Spy;
+ let editionStateServiceGetSelectedEditionComplexSpy: Spy;
+ let editionStateServiceGetSelectedEditionSeriesSpy: Spy;
+ let editionStateServiceGetSelectedEditionSectionSpy: Spy;
+ let editionStateServiceGetIsIntroViewSpy: Spy;
+ let editionStateServiceGetIsPrefaceViewSpy: Spy;
+ let editionStateServiceGetIsRowTableViewSpy: Spy;
let expectedSelectedEditionComplexId: string;
let expectedSelectedEditionComplex: EditionComplex;
let expectedSelectedEditionSeries: EditionOutlineSeries;
let expectedSelectedEditionSection: EditionOutlineSection;
+ let expectedIsIntroView: boolean;
let expectedIsPrefaceView: boolean;
let expectedIsRowTableView: boolean;
- const expectedTitle = 'Inhalt';
+ const expectedTitle = 'Editionsübersicht';
const expectedId = 'awg-edition-view';
const expectedEditionRouteConstants: typeof EDITION_ROUTE_CONSTANTS = EDITION_ROUTE_CONSTANTS;
@@ -69,14 +70,9 @@ describe('EditionViewComponent (DONE)', () => {
});
beforeEach(waitForAsync(() => {
- // Mock router with spy object
- mockRouter = jasmine.createSpyObj('Router', ['navigate']);
-
- // Mock activated route with stub class
- mockActivatedRoute = new ActivatedRouteStub();
-
- // Mock edition service
- mockEditionService = {
+ // Mock edition state service
+ mockEditionStateService = {
+ getIsIntroView: (): Observable => observableOf(expectedIsIntroView),
getIsPrefaceView: (): Observable => observableOf(expectedIsPrefaceView),
getIsRowTableView: (): Observable => observableOf(expectedIsRowTableView),
getSelectedEditionComplex: (): Observable =>
@@ -99,11 +95,7 @@ describe('EditionViewComponent (DONE)', () => {
RouterLinkStubDirective,
ScrollToTopStubComponent,
],
- providers: [
- { provide: EditionService, useValue: mockEditionService },
- { provide: ActivatedRoute, useValue: mockActivatedRoute },
- { provide: Router, useValue: mockRouter },
- ],
+ providers: [{ provide: EditionStateService, useValue: mockEditionStateService }],
}).compileComponents();
}));
@@ -112,9 +104,11 @@ describe('EditionViewComponent (DONE)', () => {
component = fixture.componentInstance;
compDe = fixture.debugElement;
- mockEditionService = TestBed.inject(EditionService);
+ mockDocument = TestBed.inject(DOCUMENT);
+ mockEditionStateService = TestBed.inject(EditionStateService);
// Test data
+ expectedIsIntroView = false;
expectedIsPrefaceView = false;
expectedIsRowTableView = true;
expectedSelectedEditionComplexId = 'OP12';
@@ -128,21 +122,21 @@ describe('EditionViewComponent (DONE)', () => {
// `.and.callThrough` will track the spy down the nested describes, see
// https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
setupEditionViewSpy = spyOn(component, 'setupEditionView').and.callThrough();
- routeToSidenavSpy = spyOn(component, 'routeToSidenav').and.callThrough();
// Spies for service methods
- editionServiceGetSelectedEditionComplexSpy = spyOn(
- mockEditionService,
+ editionStateServiceGetSelectedEditionComplexSpy = spyOn(
+ mockEditionStateService,
'getSelectedEditionComplex'
).and.callThrough();
- editionServiceGetIsPrefaceViewSpy = spyOn(mockEditionService, 'getIsPrefaceView').and.callThrough();
- editionServiceGetIsRowTableViewSpy = spyOn(mockEditionService, 'getIsRowTableView').and.callThrough();
- editionServiceGetSelectedEditionSeriesSpy = spyOn(
- mockEditionService,
+ editionStateServiceGetIsIntroViewSpy = spyOn(mockEditionStateService, 'getIsIntroView').and.callThrough();
+ editionStateServiceGetIsPrefaceViewSpy = spyOn(mockEditionStateService, 'getIsPrefaceView').and.callThrough();
+ editionStateServiceGetIsRowTableViewSpy = spyOn(mockEditionStateService, 'getIsRowTableView').and.callThrough();
+ editionStateServiceGetSelectedEditionSeriesSpy = spyOn(
+ mockEditionStateService,
'getSelectedEditionSeries'
).and.callThrough();
- editionServiceGetSelectedEditionSectionSpy = spyOn(
- mockEditionService,
+ editionStateServiceGetSelectedEditionSectionSpy = spyOn(
+ mockEditionStateService,
'getSelectedEditionSection'
).and.callThrough();
});
@@ -165,6 +159,10 @@ describe('EditionViewComponent (DONE)', () => {
expectToEqual(component.editionRouteConstants, expectedEditionRouteConstants);
});
+ it('... should not have `isIntroView$`', () => {
+ expect(component.isIntroView$).toBeUndefined();
+ });
+
it('... should not have `isPrefaceView$`', () => {
expect(component.isPrefaceView$).toBeUndefined();
});
@@ -186,28 +184,33 @@ describe('EditionViewComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should contain one ScrollToTop component (stubbed)', () => {
- getAndExpectDebugElementByDirective(compDe, ScrollToTopStubComponent, 1, 1);
+ it('... should contain one `div.awg-edition-view`', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
});
- it('... should contain one outer div', () => {
- getAndExpectDebugElementByCss(compDe, 'div', 1, 1);
+ it('... should contain one ScrollToTop component (stubbed) in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], ScrollToTopStubComponent, 1, 1);
});
- it('... should contain no div.awg-edition-row-tables yet', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-row-tables', 0, 0);
+ it('... should contain no `div.awg-edition-row-tables` in `div.awg-edition-view` yet', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-row-tables', 0, 0);
});
- it('... should contain no div.awg-edition-complex yet', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-complex', 0, 0);
+ it('... should contain no `div.awg-edition-complex` in `div.awg-edition-view` yet', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-complex', 0, 0);
});
- it('... should contain no div.awg-edition-series yet', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series', 0, 0);
+ it('... should contain no `div.awg-edition-series` in `div.awg-edition-view` yet', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-series', 0, 0);
});
- it('... should contain one router outlet (stubbed)', () => {
- getAndExpectDebugElementByDirective(compDe, RouterOutletStubComponent, 1, 1);
+ it('... should contain one router outlet (stubbed) in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], RouterOutletStubComponent, 1, 1);
});
});
@@ -220,10 +223,14 @@ describe('EditionViewComponent (DONE)', () => {
expectSpyCall(setupEditionViewSpy, 0);
});
- it('... should not have called EditionService', () => {
- expectSpyCall(editionServiceGetSelectedEditionComplexSpy, 0);
- expectSpyCall(editionServiceGetSelectedEditionSeriesSpy, 0);
- expectSpyCall(editionServiceGetSelectedEditionSectionSpy, 0);
+ it('... should not have called EditionStateService', () => {
+ expectSpyCall(editionStateServiceGetSelectedEditionComplexSpy, 0);
+ expectSpyCall(editionStateServiceGetSelectedEditionSeriesSpy, 0);
+ expectSpyCall(editionStateServiceGetSelectedEditionSectionSpy, 0);
+ });
+
+ it('... should not have set isIntroView$', () => {
+ expect(component.isIntroView$).toBeUndefined();
});
it('... should not have set isPrefaceView$', () => {
@@ -246,16 +253,6 @@ describe('EditionViewComponent (DONE)', () => {
expect(component.selectedEditionSection$).toBeUndefined();
});
});
-
- describe('#routeToSidenav()', () => {
- it('... should have a method `routeToSidenav`', () => {
- expect(component.routeToSidenav).toBeDefined();
- });
-
- it('... should not have been called', () => {
- expectSpyCall(routeToSidenavSpy, 0);
- });
- });
});
describe('AFTER initial data binding', () => {
@@ -273,11 +270,12 @@ describe('EditionViewComponent (DONE)', () => {
fixture.detectChanges();
}));
- it('... should have one div.awg-edition-preface', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-preface', 1, 1);
+ it('... should have one `div.awg-edition-preface` in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-preface', 1, 1);
});
- it('... should have an h6 (breadcrumb) and a JumbotronComponent (stubbed)', () => {
+ it('... should have an h6 (breadcrumb) and a JumbotronComponent (stubbed) in `div.awg-edition-preface`', () => {
const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-preface', 1, 1);
getAndExpectDebugElementByCss(divDes[0], 'h6.awg-edition-info-breadcrumb', 1, 1);
@@ -325,11 +323,12 @@ describe('EditionViewComponent (DONE)', () => {
fixture.detectChanges();
}));
- it('... should have one div.awg-edition-row-tables', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-row-tables', 1, 1);
+ it('... should have one `div.awg-edition-row-tables` in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-row-tables', 1, 1);
});
- it('... should have an h6 (breadcrumb) and a JumbotronComponent (stubbed)', () => {
+ it('... should have an h6 (breadcrumb) and a JumbotronComponent (stubbed) in `div.awg-edition-row-tables`', () => {
const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-row-tables', 1, 1);
getAndExpectDebugElementByCss(divDes[0], 'h6.awg-edition-info-breadcrumb', 1, 1);
@@ -377,11 +376,12 @@ describe('EditionViewComponent (DONE)', () => {
fixture.detectChanges();
}));
- it('... should have one div.awg-edition-complex', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-complex', 1, 1);
+ it('... should have one `div.awg-edition-complex` in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-complex', 1, 1);
});
- it('... should have an h6 (breadcrumb), a JumbotronComponent (stubbed) and a responsibility div in div.awg-edition-complex', () => {
+ it('... should have an h6 (breadcrumb), a JumbotronComponent (stubbed) and a responsibility div in `div.awg-edition-complex`', () => {
const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-complex', 1, 1);
getAndExpectDebugElementByCss(divDes[0], 'h6.awg-edition-info-breadcrumb', 1, 1);
@@ -401,7 +401,14 @@ describe('EditionViewComponent (DONE)', () => {
const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
const series = expectedSelectedEditionComplex.pubStatement.series.full;
const section = expectedSelectedEditionComplex.pubStatement.section.full;
- const expectedBreadCrumb = `${awg} / ${series} / ${section}`;
+
+ // Handle non-breaking space by converting HTML to text
+ const complex = expectedSelectedEditionComplex.complexId.short;
+ const complexHtml = mockDocument.createElement('span');
+ complexHtml.innerHTML = complex;
+ const complexText = complexHtml.innerText;
+
+ const expectedBreadCrumb = `${awg} / ${series} / ${section} / ${complexText}`;
expectToBe(hEl.innerText, expectedBreadCrumb);
});
@@ -467,23 +474,27 @@ describe('EditionViewComponent (DONE)', () => {
fixture.detectChanges();
}));
- it('... should not have a div.awg-edition-preface', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-preface', 0, 0);
+ it('... should not have a `div.awg-edition-preface` in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-preface', 0, 0);
});
- it('... should not have a div.awg-edition-row-tables', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-row-tables', 0, 0);
+ it('... should not have a `div.awg-edition-row-tables` in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-row-tables', 0, 0);
});
- it('... should not have a div.awg-edition-complex', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-complex', 0, 0);
+ it('... should not have a `div.awg-edition-complex` in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-complex', 0, 0);
});
- it('... should have one div.awg-edition-series', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series', 1, 1);
+ it('... should have one `div.awg-edition-series` in `div.awg-edition-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-edition-series', 1, 1);
});
- it('... should have an h6 (breadcrumb) and a JumbotronComponent (stubbed)', () => {
+ it('... should have an h6 (breadcrumb) and a JumbotronComponent (stubbed) in `div.awg-edition-series`', () => {
const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series', 1, 1);
getAndExpectDebugElementByCss(divDes[0], 'h6.awg-edition-info-breadcrumb', 1, 1);
@@ -491,7 +502,7 @@ describe('EditionViewComponent (DONE)', () => {
getAndExpectDebugElementByDirective(divDes[0], EditionJumbotronStubComponent, 1, 1);
});
- it('... should pass down `editionViewId` and `title` to JumbotronComponent (stubbed)', () => {
+ it('... should pass down `editionViewId` and `editionViewTitle` to JumbotronComponent (stubbed)', () => {
// Get debug and native element of JumbotronComponent
const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series', 1, 1);
const jumbotronDes = getAndExpectDebugElementByDirective(
@@ -508,74 +519,251 @@ describe('EditionViewComponent (DONE)', () => {
expectToBe(jumbotronCmp.jumbotronTitle, expectedTitle);
});
- describe('... breadcrumb header (h6)', () => {
- it('... should display edition base root (AWG) if no series and section is given', () => {
- component.selectedEditionSeries$ = observableOf(null);
- component.selectedEditionSection$ = observableOf(null);
-
- // Trigger data binding
- fixture.detectChanges();
-
- const hDes = getAndExpectDebugElementByCss(
- compDe,
- 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
- 1,
- 1
- );
- const hEl = hDes[0].nativeElement;
-
- const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
- const expectedBreadCrumb = `${awg} /`;
-
- expectToBe(hEl.innerText, expectedBreadCrumb);
- });
-
- it('... should display edition series if series, but no section is given', () => {
- component.selectedEditionSeries$ = observableOf(expectedSelectedEditionSeries);
- component.selectedEditionSection$ = observableOf(null);
-
- // Trigger data binding
- fixture.detectChanges();
-
- // Trigger data binding
- fixture.detectChanges();
+ it('... should pass down full edition intro const as title to JumbotronComponent (stubbed) if `isIntroView=true`', () => {
+ component.isIntroView$ = observableOf(true);
+ fixture.detectChanges();
- const hDes = getAndExpectDebugElementByCss(
- compDe,
- 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
- 1,
- 1
- );
- const hEl = hDes[0].nativeElement;
+ // Get debug and native element of JumbotronComponent
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-edition-series', 1, 1);
+ const jumbotronDes = getAndExpectDebugElementByDirective(
+ divDes[0],
+ EditionJumbotronStubComponent,
+ 1,
+ 1
+ );
+ const jumbotronCmp = jumbotronDes[0].injector.get(
+ EditionJumbotronStubComponent
+ ) as EditionJumbotronStubComponent;
- const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
- const series = expectedSelectedEditionComplex.pubStatement.series.full;
- const expectedBreadCrumb = `${awg} / ${series} /`;
+ expectToBe(jumbotronCmp.jumbotronId, expectedId);
+ expectToBe(jumbotronCmp.jumbotronTitle, EDITION_ROUTE_CONSTANTS.EDITION_INTRO.full);
+ });
- expectToBe(hEl.innerText, expectedBreadCrumb);
+ describe('... breadcrumb header (h6)', () => {
+ describe('... if no series and section is given', () => {
+ it('... should display edition base root (AWG)', () => {
+ component.selectedEditionSeries$ = observableOf(null);
+ component.selectedEditionSection$ = observableOf(null);
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ const hDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
+ 1,
+ 1
+ );
+ const hEl = hDes[0].nativeElement;
+
+ const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
+ const expectedBreadCrumb = `${awg} /`;
+
+ expectToBe(hEl.innerText, expectedBreadCrumb);
+ });
+
+ it('... should have no back link to edition series overview', () => {
+ const expectedLinkLength = 0;
+
+ component.selectedEditionSeries$ = observableOf(null);
+ component.selectedEditionSection$ = observableOf(null);
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ const hDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
+ 1,
+ 1
+ );
+ getAndExpectDebugElementByCss(hDes[0], 'a', expectedLinkLength, expectedLinkLength);
+ });
});
- it('... should display edition series and section if both are given', () => {
- component.selectedEditionSeries$ = observableOf(expectedSelectedEditionSeries);
- component.selectedEditionSection$ = observableOf(expectedSelectedEditionSection);
-
- // Trigger data binding
- fixture.detectChanges();
-
- const hDes = getAndExpectDebugElementByCss(
- compDe,
- 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
- 1,
- 1
- );
- const hEl = hDes[0].nativeElement;
+ describe('... if series, but no section is given', () => {
+ it('... should display edition series', () => {
+ component.selectedEditionSeries$ = observableOf(expectedSelectedEditionSeries);
+ component.selectedEditionSection$ = observableOf(null);
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ const hDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
+ 1,
+ 1
+ );
+ const hEl = hDes[0].nativeElement;
+
+ const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
+ const series = expectedSelectedEditionComplex.pubStatement.series.full;
+ const expectedBreadCrumb = `${awg} / ${series} /`;
+
+ expectToBe(hEl.innerText, expectedBreadCrumb);
+ });
+
+ it('... should have a back link to edition series overview', () => {
+ const expectedLinkLength = 1;
+
+ component.selectedEditionSeries$ = observableOf(expectedSelectedEditionSeries);
+ component.selectedEditionSection$ = observableOf(null);
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ const hDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
+ 1,
+ 1
+ );
+ getAndExpectDebugElementByCss(hDes[0], 'a', expectedLinkLength, expectedLinkLength);
+ const linkDes = getAndExpectDebugElementByDirective(
+ hDes[0],
+ RouterLinkStubDirective,
+ expectedLinkLength,
+ expectedLinkLength
+ );
+ const routerLinks = linkDes.map(de => de.injector.get(RouterLinkStubDirective));
+ const expectedRoute = EDITION_ROUTE_CONSTANTS.SERIES.route;
+
+ expectToBe(routerLinks.length, expectedLinkLength);
+ expectToEqual(routerLinks[0].linkParams, [expectedRoute]);
+ });
+ });
- const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
- const series = expectedSelectedEditionComplex.pubStatement.series.full;
- const section = expectedSelectedEditionComplex.pubStatement.section.full;
- const expectedBreadCrumb = `${awg} / ${series} / ${section}`;
+ describe('... if series and section are given', () => {
+ it('... should display edition series and section', () => {
+ component.selectedEditionSeries$ = observableOf(expectedSelectedEditionSeries);
+ component.selectedEditionSection$ = observableOf(expectedSelectedEditionSection);
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ const hDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
+ 1,
+ 1
+ );
+ const hEl = hDes[0].nativeElement;
+
+ const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
+ const series = expectedSelectedEditionComplex.pubStatement.series.full;
+ const section = expectedSelectedEditionComplex.pubStatement.section.full;
+ const expectedBreadCrumb = `${awg} / ${series} / ${section}`;
+
+ expectToBe(hEl.innerText, expectedBreadCrumb);
+ });
+
+ it('... should have two back links to series overview and current edition series', () => {
+ const expectedLinkLength = 2;
+
+ component.selectedEditionSeries$ = observableOf(expectedSelectedEditionSeries);
+ component.selectedEditionSection$ = observableOf(expectedSelectedEditionSection);
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ const hDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
+ 1,
+ 1
+ );
+ getAndExpectDebugElementByCss(hDes[0], 'a', expectedLinkLength, expectedLinkLength);
+ const linkDes = getAndExpectDebugElementByDirective(
+ hDes[0],
+ RouterLinkStubDirective,
+ expectedLinkLength,
+ expectedLinkLength
+ );
+ const routerLinks = linkDes.map(de => de.injector.get(RouterLinkStubDirective));
+ const expectedSeriesRoute = EDITION_ROUTE_CONSTANTS.SERIES.route;
+ const expectedSeriesNumberRoute = expectedSelectedEditionSeries.series.route;
+
+ expectToBe(routerLinks.length, expectedLinkLength);
+ expectToEqual(routerLinks[0].linkParams, [expectedSeriesRoute]);
+ expectToEqual(routerLinks[1].linkParams, [
+ './' + expectedSeriesRoute,
+ expectedSeriesNumberRoute,
+ ]);
+ });
+ });
- expectToBe(hEl.innerText, expectedBreadCrumb);
+ describe('... if series, section, and isIntroView$ is given', () => {
+ it('... should display edition series, section and intro heading', () => {
+ component.selectedEditionSeries$ = observableOf(expectedSelectedEditionSeries);
+ component.selectedEditionSection$ = observableOf(expectedSelectedEditionSection);
+ component.isIntroView$ = observableOf(true);
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ const hDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
+ 1,
+ 1
+ );
+ const hEl = hDes[0].nativeElement;
+
+ const awg = EDITION_ROUTE_CONSTANTS.EDITION.short;
+ const series = expectedSelectedEditionComplex.pubStatement.series.full;
+ const section = expectedSelectedEditionComplex.pubStatement.section.full;
+ const intro = EDITION_ROUTE_CONSTANTS.EDITION_INTRO.full;
+ const expectedBreadCrumb = `${awg} / ${series} / ${section} / ${intro}`;
+
+ expectToBe(hEl.innerText, expectedBreadCrumb);
+ });
+
+ it('... should have three back links to series overview, current edition series and section overview', () => {
+ const expectedLinkLength = 3;
+
+ component.selectedEditionSeries$ = observableOf(expectedSelectedEditionSeries);
+ component.selectedEditionSection$ = observableOf(expectedSelectedEditionSection);
+ component.isIntroView$ = observableOf(true);
+
+ // Trigger data binding
+ fixture.detectChanges();
+
+ const hDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-edition-series > h6.awg-edition-info-breadcrumb',
+ 1,
+ 1
+ );
+ getAndExpectDebugElementByCss(hDes[0], 'a', expectedLinkLength, expectedLinkLength);
+ const linkDes = getAndExpectDebugElementByDirective(
+ hDes[0],
+ RouterLinkStubDirective,
+ expectedLinkLength,
+ expectedLinkLength
+ );
+ const routerLinks = linkDes.map(de => de.injector.get(RouterLinkStubDirective));
+ const expectedSeriesRoute = EDITION_ROUTE_CONSTANTS.SERIES.route;
+ const expectedSeriesNumberRoute = expectedSelectedEditionSeries.series.route;
+ const expectedSectionRoute = EDITION_ROUTE_CONSTANTS.SECTION.route;
+ const expectedSectionNumberRoute = expectedSelectedEditionSection.section.route;
+
+ expectToBe(routerLinks.length, expectedLinkLength);
+ expectToEqual(routerLinks[0].linkParams, [expectedSeriesRoute]);
+ expectToEqual(routerLinks[1].linkParams, [
+ './' + expectedSeriesRoute,
+ expectedSeriesNumberRoute,
+ ]);
+ expectToEqual(routerLinks[2].linkParams, [
+ './' + expectedSeriesRoute,
+ expectedSeriesNumberRoute,
+ expectedSectionRoute,
+ expectedSectionNumberRoute,
+ ]);
+ });
});
});
});
@@ -586,9 +774,21 @@ describe('EditionViewComponent (DONE)', () => {
expectSpyCall(setupEditionViewSpy, 1);
});
- it('... should get isPrefaceView$ (via EditionService)', waitForAsync(() => {
+ it('... should get isIntroView$ (via EditionStateService)', waitForAsync(() => {
expectSpyCall(setupEditionViewSpy, 1);
- expectSpyCall(editionServiceGetIsPrefaceViewSpy, 1);
+ expectSpyCall(editionStateServiceGetIsIntroViewSpy, 1);
+
+ expect(component.isIntroView$).toBeDefined();
+ component.isIntroView$.subscribe({
+ next: (isView: boolean) => {
+ expectToBe(isView, expectedIsIntroView);
+ },
+ });
+ }));
+
+ it('... should get isPrefaceView$ (via EditionStateService)', waitForAsync(() => {
+ expectSpyCall(setupEditionViewSpy, 1);
+ expectSpyCall(editionStateServiceGetIsPrefaceViewSpy, 1);
expect(component.isPrefaceView$).toBeDefined();
component.isPrefaceView$.subscribe({
@@ -598,9 +798,9 @@ describe('EditionViewComponent (DONE)', () => {
});
}));
- it('... should get isRowTableView$ (via EditionService)', waitForAsync(() => {
+ it('... should get isRowTableView$ (via EditionStateService)', waitForAsync(() => {
expectSpyCall(setupEditionViewSpy, 1);
- expectSpyCall(editionServiceGetIsRowTableViewSpy, 1);
+ expectSpyCall(editionStateServiceGetIsRowTableViewSpy, 1);
expect(component.isRowTableView$).toBeDefined();
component.isRowTableView$.subscribe({
@@ -610,9 +810,9 @@ describe('EditionViewComponent (DONE)', () => {
});
}));
- it('... should get selectedEditionSeries$ (via EditionService)', waitForAsync(() => {
+ it('... should get selectedEditionSeries$ (via EditionStateService)', waitForAsync(() => {
expectSpyCall(setupEditionViewSpy, 1);
- expectSpyCall(editionServiceGetSelectedEditionSeriesSpy, 1);
+ expectSpyCall(editionStateServiceGetSelectedEditionSeriesSpy, 1);
expect(component.selectedEditionSeries$).toBeDefined();
component.selectedEditionSeries$.subscribe({
@@ -622,9 +822,9 @@ describe('EditionViewComponent (DONE)', () => {
});
}));
- it('... should get selectedEditionSection$ (via EditionService)', waitForAsync(() => {
+ it('... should get selectedEditionSection$ (via EditionStateService)', waitForAsync(() => {
expectSpyCall(setupEditionViewSpy, 1);
- expectSpyCall(editionServiceGetSelectedEditionSectionSpy, 1);
+ expectSpyCall(editionStateServiceGetSelectedEditionSectionSpy, 1);
expect(component.selectedEditionSection$).toBeDefined();
component.selectedEditionSection$.subscribe({
@@ -634,9 +834,9 @@ describe('EditionViewComponent (DONE)', () => {
});
}));
- it('... should get selectedEditionComplex$ (via EditionService)', waitForAsync(() => {
+ it('... should get selectedEditionComplex$ (via EditionStateService)', waitForAsync(() => {
expectSpyCall(setupEditionViewSpy, 1);
- expectSpyCall(editionServiceGetSelectedEditionComplexSpy, 1);
+ expectSpyCall(editionStateServiceGetSelectedEditionComplexSpy, 1);
expect(component.selectedEditionComplex$).toBeDefined();
component.selectedEditionComplex$.subscribe({
@@ -649,48 +849,5 @@ describe('EditionViewComponent (DONE)', () => {
});
}));
});
-
- describe('#routeToSideNav()', () => {
- let navigationSpy: Spy;
-
- beforeEach(() => {
- // Create spy of mockrouter SpyObj
- navigationSpy = mockRouter.navigate as jasmine.Spy;
- });
-
- it('... should have been called', () => {
- // Router navigation triggerd by onInit
- expectSpyCall(routeToSidenavSpy, 1);
- });
-
- it('... should have triggered `router.navigate`', () => {
- expectSpyCall(navigationSpy, 1);
- });
-
- it('... should tell ROUTER to navigate to `editionInfo` outlet', () => {
- const expectedRoute = 'editionInfo';
-
- // Catch args passed to navigation spy
- const navArgs = navigationSpy.calls.first().args;
- const outletRoute = navArgs[0][0].outlets.side;
-
- expect(navArgs).toBeDefined();
- expect(navArgs[0]).toBeDefined();
- expectToBe(outletRoute, expectedRoute);
-
- expect(navigationSpy).toHaveBeenCalledWith(navArgs[0], navArgs[1]);
- });
-
- it('... should tell ROUTER to navigate with `preserveFragment:true`', () => {
- // Catch args passed to navigation spy
- const navArgs = navigationSpy.calls.first().args;
- const navExtras = navArgs[1];
-
- expect(navExtras).toBeDefined();
- expectToBe(navExtras.preserveFragment, true);
-
- expect(navigationSpy).toHaveBeenCalledWith(navArgs[0], navArgs[1]);
- });
- });
});
});
diff --git a/src/app/views/edition-view/edition-view.component.ts b/src/app/views/edition-view/edition-view.component.ts
index 6169b22c6c..ccc9edaa58 100644
--- a/src/app/views/edition-view/edition-view.component.ts
+++ b/src/app/views/edition-view/edition-view.component.ts
@@ -1,11 +1,10 @@
-import { Component, OnInit } from '@angular/core';
-import { Router } from '@angular/router';
+import { ChangeDetectionStrategy, Component, OnInit } from '@angular/core';
import { delay, Observable } from 'rxjs';
import { EDITION_ROUTE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
import { EditionComplex, EditionOutlineSection, EditionOutlineSeries } from '@awg-views/edition-view/models';
-import { EditionService } from '@awg-views/edition-view/services';
+import { EditionStateService } from '@awg-views/edition-view/services';
/**
* The EditionView component.
@@ -18,6 +17,7 @@ import { EditionService } from '@awg-views/edition-view/services';
selector: 'awg-edition-view',
templateUrl: './edition-view.component.html',
styleUrls: ['./edition-view.component.scss'],
+ changeDetection: ChangeDetectionStrategy.Default,
})
export class EditionViewComponent implements OnInit {
/**
@@ -25,7 +25,7 @@ export class EditionViewComponent implements OnInit {
*
* It keeps the title of the edition view section.
*/
- editionViewTitle = 'Inhalt';
+ editionViewTitle = 'Editionsübersicht';
/**
* Public variable: editionViewId.
@@ -34,6 +34,14 @@ export class EditionViewComponent implements OnInit {
*/
editionViewId = 'awg-edition-view';
+ /**
+ * Public variable: isIntroView$.
+ *
+ * Observable that keeps the information
+ * about the flag for the intro view.
+ */
+ isIntroView$: Observable;
+
/**
* Public variable: isPrefaceView$.
*
@@ -75,16 +83,11 @@ export class EditionViewComponent implements OnInit {
/**
* Constructor of the EditionViewComponent.
*
- * It declares private instances of
- * EditionService, ActivatedRoute and Router.
+ * It declares a private instance of the EditionStateService.
*
- * @param {EditionService} editionService Instance of the EditionService.
- * @param {Router} router Instance of the Angular router.
+ * @param {EditionStateService} editionStateService Instance of the EditionStateService.
*/
- constructor(
- private editionService: EditionService,
- private router: Router
- ) {}
+ constructor(private editionStateService: EditionStateService) {}
/**
* Getter variable: editionRouteConstants.
@@ -103,7 +106,6 @@ export class EditionViewComponent implements OnInit {
*/
ngOnInit() {
this.setupEditionView();
- this.routeToSidenav();
}
/**
@@ -111,29 +113,16 @@ export class EditionViewComponent implements OnInit {
*
* It sets up the edition view by loading
* the selected series, section, and edition complex
- * from the edition service.
+ * from the EditionStateService.
*
* @returns {void} Sets up the edition view.
*/
setupEditionView(): void {
- this.selectedEditionSeries$ = this.editionService.getSelectedEditionSeries().pipe(delay(0));
- this.selectedEditionSection$ = this.editionService.getSelectedEditionSection().pipe(delay(0));
- this.selectedEditionComplex$ = this.editionService.getSelectedEditionComplex().pipe(delay(0));
- this.isPrefaceView$ = this.editionService.getIsPrefaceView().pipe(delay(0));
- this.isRowTableView$ = this.editionService.getIsRowTableView().pipe(delay(0));
- }
-
- /**
- * Public method: routeToSidenav.
- *
- * It activates the secondary outlet with the edition-info.
- *
- * @returns {void} Activates the edition-info side outlet.
- */
- routeToSidenav(): void {
- // Opens the side-info outlet while preserving the router fragment for scrolling
- this.router.navigate([{ outlets: { side: 'editionInfo' } }], {
- preserveFragment: true,
- });
+ this.selectedEditionSeries$ = this.editionStateService.getSelectedEditionSeries().pipe(delay(0));
+ this.selectedEditionSection$ = this.editionStateService.getSelectedEditionSection().pipe(delay(0));
+ this.selectedEditionComplex$ = this.editionStateService.getSelectedEditionComplex().pipe(delay(0));
+ this.isIntroView$ = this.editionStateService.getIsIntroView().pipe(delay(0));
+ this.isPrefaceView$ = this.editionStateService.getIsPrefaceView().pipe(delay(0));
+ this.isRowTableView$ = this.editionStateService.getIsRowTableView().pipe(delay(0));
}
}
diff --git a/src/app/views/edition-view/edition-view.module.ts b/src/app/views/edition-view/edition-view.module.ts
index 454765747a..fd2a99fdfd 100644
--- a/src/app/views/edition-view/edition-view.module.ts
+++ b/src/app/views/edition-view/edition-view.module.ts
@@ -4,7 +4,6 @@ import { SharedModule } from '@awg-shared/shared.module';
import { EditionViewRoutingModule, routedEditionViewComponents } from './edition-view-routing.module';
-import { EditionComplexCardComponent } from './edition-complex-card';
import { EditionJumbotronComponent } from './edition-jumbotron';
/**
* The editionView module.
@@ -15,6 +14,6 @@ import { EditionJumbotronComponent } from './edition-jumbotron';
*/
@NgModule({
imports: [SharedModule, EditionViewRoutingModule],
- declarations: [routedEditionViewComponents, EditionComplexCardComponent, EditionJumbotronComponent],
+ declarations: [routedEditionViewComponents, EditionJumbotronComponent],
})
export class EditionViewModule {}
diff --git a/src/app/views/edition-view/models/edition-outline.model.ts b/src/app/views/edition-view/models/edition-outline.model.ts
index 0802481568..4980ccf0c6 100644
--- a/src/app/views/edition-view/models/edition-outline.model.ts
+++ b/src/app/views/edition-view/models/edition-outline.model.ts
@@ -5,21 +5,27 @@ import { EditionComplexesService } from '@awg-views/edition-view/services';
import { EditionComplex } from './edition-complex.model';
/**
- * The EditionOutlineSeriesJsonData interface.
+ * The EditionOutlineSectionsContentJsonData interface.
*
* It is used in the context of the edition view
- * to describe the structure of a JSON data for an edition outline series.
+ * to describe the structure of a JSON data for an edition outline sections content.
*/
-export interface EditionOutlineSeriesJsonData {
+export interface EditionOutlineSectionsContentJsonData {
/**
- * The series data.
+ * The intro data.
*/
- series: string;
+ intro: {
+ disabled: boolean;
+ preview?: string;
+ };
/**
- * The sections data.
+ * The complex types data.
*/
- sections: EditionOutlineSectionsJsonData[];
+ complexTypes: {
+ opus: [{ complex: string; disabled: boolean }];
+ mnr: [{ complex: string; disabled: boolean }];
+ };
}
/**
@@ -35,12 +41,9 @@ export interface EditionOutlineSectionsJsonData {
section: string;
/**
- * The complexTypes data
+ * The section content data.
*/
- complexTypes: {
- opus: [{ complex: string; disabled: boolean }];
- mnr: [{ complex: string; disabled: boolean }];
- };
+ content: EditionOutlineSectionsContentJsonData;
/**
* Boolean flag if a section is disabled.
@@ -48,6 +51,24 @@ export interface EditionOutlineSectionsJsonData {
disabled: boolean;
}
+/**
+ * The EditionOutlineSeriesJsonData interface.
+ *
+ * It is used in the context of the edition view
+ * to describe the structure of a JSON data for an edition outline series.
+ */
+export interface EditionOutlineSeriesJsonData {
+ /**
+ * The series data.
+ */
+ series: string;
+
+ /**
+ * The sections data.
+ */
+ sections: EditionOutlineSectionsJsonData[];
+}
+
/**
* The EditionOutlineJsonData interface.
*
@@ -102,6 +123,42 @@ export interface EditionOutlineComplexTypes {
mnr: EditionOutlineComplexItem[];
}
+/**
+ * The EditionOutlineIntroItem interface.
+ *
+ * It is used in the context of the edition view
+ * to structure outline information of the edition intro.
+ */
+export interface EditionOutlineIntroItem {
+ /**
+ * Boolean flag if an intro is disabled.
+ */
+ disabled: boolean;
+
+ /**
+ * The preview of an intro.
+ */
+ preview?: string;
+}
+
+/**
+ * The EditionOutlineSectionContent interface.
+ *
+ * It is used in the context of the edition view
+ * to structure outline information of the edition section content.
+ */
+export interface EditionOutlineSectionContent {
+ /**
+ * The intro of an edition section.
+ */
+ intro: EditionOutlineIntroItem;
+
+ /**
+ * The edition complex types of an edition section.
+ */
+ complexTypes: EditionOutlineComplexTypes;
+}
+
/**
* The EditionOutlineSection interface.
*
@@ -109,15 +166,20 @@ export interface EditionOutlineComplexTypes {
* to structure outline information of the edition sections.
*/
export interface EditionOutlineSection {
+ /**
+ * The series parent route of an edition section.
+ */
+ seriesParent: EditionRouteConstant;
+
/**
* The section route of an edition section.
*/
section: EditionRouteConstant;
/**
- * The edition complex types of an edition section.
+ * The section content of an edition section.
*/
- complexTypes: EditionOutlineComplexTypes;
+ content: EditionOutlineSectionContent;
/**
* Boolean flag if an edition section is disabled.
@@ -185,7 +247,7 @@ export class EditionOutline {
const seriesConstant: EditionRouteConstant = EDITION_ROUTE_CONSTANTS['SERIES_' + series];
return {
series: seriesConstant,
- sections: sections.map(section => this._mapSection(section, series)),
+ sections: sections.map(section => this._mapSection(section, seriesConstant)),
};
};
@@ -202,24 +264,39 @@ export class EditionOutline {
* @returns {EditionOutlineSection} The mapped section.
*/
private _mapSection = (
- { section, complexTypes, disabled }: EditionOutlineSectionsJsonData,
- series: string
+ { section, disabled, content }: EditionOutlineSectionsJsonData,
+ seriesConstant: EditionRouteConstant
): EditionOutlineSection => {
const sectionConstant: EditionRouteConstant =
- series === '3' && section === '5'
+ seriesConstant.route === '3' && section === '5'
? EDITION_ROUTE_CONSTANTS.SERIES_3_SECTION_5
: EDITION_ROUTE_CONSTANTS['SECTION_' + section];
return {
+ seriesParent: seriesConstant,
section: sectionConstant,
- complexTypes: {
- opus: this._mapComplexItems(complexTypes.opus),
- mnr: this._mapComplexItems(complexTypes.mnr),
- },
+ content: this._mapSectionContent(content),
disabled,
};
};
+ /**
+ * Private method: _mapContent.
+ *
+ * It maps the content data.
+ *
+ * @param {EditionOutlineSectionsContentJsonData} content The content data to map.
+ *
+ * @returns {EditionOutlineSectionContent} The mapped content.
+ */
+ private _mapSectionContent = (content: EditionOutlineSectionsContentJsonData): EditionOutlineSectionContent => ({
+ intro: { disabled: content.intro.disabled, preview: content.intro.preview || '' },
+ complexTypes: {
+ opus: this._mapComplexItems(content.complexTypes.opus),
+ mnr: this._mapComplexItems(content.complexTypes.mnr),
+ },
+ });
+
/**
* Private method: _mapComplexItems.
*
diff --git a/src/app/views/edition-view/models/index.ts b/src/app/views/edition-view/models/index.ts
index bb023019de..e85f2922bd 100644
--- a/src/app/views/edition-view/models/index.ts
+++ b/src/app/views/edition-view/models/index.ts
@@ -36,7 +36,7 @@ import { FolioSvgContentSegment, FolioSvgData } from './folio-svg-data.model';
import { Folio, FolioContent, FolioConvolute, FolioConvoluteList, FolioFormat, FolioSection } from './folio.model';
import { Graph, GraphList, GraphRDFData, GraphSparqlQuery } from './graph.model';
-import { Intro, IntroList } from './intro.model';
+import { Intro, IntroBlock, IntroList } from './intro.model';
import { Preface, PrefaceList } from './preface.model';
import {
@@ -94,6 +94,7 @@ export {
GraphRDFData,
GraphSparqlQuery,
Intro,
+ IntroBlock,
IntroList,
Preface,
PrefaceList,
diff --git a/src/app/views/edition-view/models/intro.model.ts b/src/app/views/edition-view/models/intro.model.ts
index 3a752f06a8..a61210f3d3 100644
--- a/src/app/views/edition-view/models/intro.model.ts
+++ b/src/app/views/edition-view/models/intro.model.ts
@@ -1,3 +1,32 @@
+/**
+ * The IntroBlock class.
+ *
+ * It is used in the context of the edition view
+ * to store the data for a single intro block
+ * from a intro json file.
+ */
+export class IntroBlock {
+ /**
+ * The id of an intro block.
+ */
+ blockId: string;
+
+ /**
+ * The header of an intro block.
+ */
+ blockHeader: string;
+
+ /**
+ * The content array of an intro block.
+ */
+ blockContent: string[];
+
+ /**
+ * The notes array of an intro block.
+ */
+ blockNotes?: string[];
+}
+
/**
* The Intro class.
*
@@ -14,12 +43,7 @@ export class Intro {
/**
* The content array of an intro.
*/
- content: string[];
-
- /**
- * The footnotes array of an intro.
- */
- footnotes: string[];
+ content?: IntroBlock[];
}
/**
diff --git a/src/app/views/edition-view/services/edition-data.service.spec.ts b/src/app/views/edition-view/services/edition-data.service.spec.ts
index ae93ba06e8..21de39be29 100644
--- a/src/app/views/edition-view/services/edition-data.service.spec.ts
+++ b/src/app/views/edition-view/services/edition-data.service.spec.ts
@@ -49,6 +49,18 @@ describe('EditionDataService (DONE)', () => {
let editionDataService: EditionDataService;
let consoleSpy: Spy;
+ let generateAssetPathSpy: Spy;
+ let getFolioConvoluteDataSpy: Spy;
+ let getGraphDataSpy: Spy;
+ let getIntroDataSpy: Spy;
+ let getJsonDataSpy: Spy;
+ let getPrefaceDataSpy: Spy;
+ let getRowTablesDataSpy: Spy;
+ let getSourceListDataSpy: Spy;
+ let getSourceDescriptionListDataSpy: Spy;
+ let getSourceEvaluationListDataSpy: Spy;
+ let getSvgSheetsDataSpy: Spy;
+ let getTextcriticsListDataSpy: Spy;
let httpClient: HttpClient;
let httpTestingController: HttpTestingController;
@@ -58,6 +70,9 @@ describe('EditionDataService (DONE)', () => {
let expectedEditionComplex: EditionComplex;
let expectedComplexRoute: string;
+ let expectedIntroRoute: string;
+ let expectedSeriesRoute: string;
+ let expectedSectionRoute: string;
let expectedAssetPath: string;
let regexBase: RegExp;
@@ -93,14 +108,18 @@ describe('EditionDataService (DONE)', () => {
// Test data
expectedEditionComplex = EditionComplexesService.getEditionComplexById('OP12');
- expectedComplexRoute =
+ expectedSeriesRoute = expectedEditionComplex.pubStatement.series.route;
+ expectedSectionRoute = expectedEditionComplex.pubStatement.section.route;
+ expectedIntroRoute =
delimiter +
EDITION_ROUTE_CONSTANTS.SERIES.route +
delimiter +
- expectedEditionComplex.pubStatement.series.route +
+ expectedSeriesRoute +
+ delimiter +
EDITION_ROUTE_CONSTANTS.SECTION.route +
- expectedEditionComplex.pubStatement.section.route +
- expectedEditionComplex.complexId.route;
+ delimiter +
+ expectedSectionRoute;
+ expectedComplexRoute = expectedIntroRoute + expectedEditionComplex.complexId.route;
expectedAssetPath = expectedAssetPathBaseRoute + expectedComplexRoute;
regexBase = new RegExp(expectedAssetPath);
@@ -120,6 +139,25 @@ describe('EditionDataService (DONE)', () => {
// Spies on console logs
consoleSpy = spyOn(console, 'error').and.callFake(mockConsole.log);
+
+ generateAssetPathSpy = spyOn(editionDataService as any, '_generateAssetPath').and.callThrough();
+ getFolioConvoluteDataSpy = spyOn(editionDataService as any, '_getFolioConvoluteData').and.callThrough();
+ getGraphDataSpy = spyOn(editionDataService as any, '_getGraphData').and.callThrough();
+ getIntroDataSpy = spyOn(editionDataService as any, '_getIntroData').and.callThrough();
+ getJsonDataSpy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
+ getPrefaceDataSpy = spyOn(editionDataService as any, '_getPrefaceData').and.callThrough();
+ getRowTablesDataSpy = spyOn(editionDataService as any, '_getRowTablesData').and.callThrough();
+ getSourceListDataSpy = spyOn(editionDataService as any, '_getSourceListData').and.callThrough();
+ getSourceDescriptionListDataSpy = spyOn(
+ editionDataService as any,
+ '_getSourceDescriptionListData'
+ ).and.callThrough();
+ getSourceEvaluationListDataSpy = spyOn(
+ editionDataService as any,
+ '_getSourceEvaluationListData'
+ ).and.callThrough();
+ getSvgSheetsDataSpy = spyOn(editionDataService as any, '_getSvgSheetsData').and.callThrough();
+ getTextcriticsListDataSpy = spyOn(editionDataService as any, '_getTextcriticsListData').and.callThrough();
});
// After every test, assert that there are no more pending requests
@@ -163,15 +201,15 @@ describe('EditionDataService (DONE)', () => {
}));
});
- describe('#getEditionSheetsData()', () => {
- it('... should have a method `getEditionSheetsData`', () => {
- expect(editionDataService.getEditionSheetsData).toBeDefined();
+ describe('#getEditionGraphData()', () => {
+ it('... should have a method `getEditionGraphData`', () => {
+ expect(editionDataService.getEditionGraphData).toBeDefined();
});
describe('request', () => {
it('... should set assetPath', waitForAsync(() => {
// Call service function
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -183,23 +221,9 @@ describe('EditionDataService (DONE)', () => {
expectToBe((editionDataService as any)._assetPath, expectedAssetPath);
}));
- it('... should call #getFolioConvoluteData, #getSvgSheetsData, #getTextcriticsListData', waitForAsync(() => {
- // Set spy on private method
- const getFolioConvoluteDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getFolioConvoluteData'
- ).and.callThrough();
- const getSvgSheetsDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSvgSheetsData'
- ).and.callThrough();
- const getTextcriticsListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getTextcriticsListData'
- ).and.callThrough();
-
+ it('... should call #getGraphData', waitForAsync(() => {
// Call service function
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -208,17 +232,12 @@ describe('EditionDataService (DONE)', () => {
},
});
- expectSpyCall(getFolioConvoluteDataSpy, 1);
- expectSpyCall(getSvgSheetsDataSpy, 1);
- expectSpyCall(getTextcriticsListDataSpy, 1);
+ expectSpyCall(getGraphDataSpy, 1);
}));
- it('... should trigger #getJsonData with correct urls', waitForAsync(() => {
- // Set spy on private method
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
-
+ it('... should trigger #getJsonData with correct url', waitForAsync(() => {
// Call service function
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -227,18 +246,13 @@ describe('EditionDataService (DONE)', () => {
},
});
- expectSpyCall(getJsonDataSpy, 3);
- expectToBe(getJsonDataSpy.calls.allArgs()[0][0], expectedFolioConvoluteFilePath);
- expectToBe(getJsonDataSpy.calls.allArgs()[1][0], expectedSheetsFilePath);
- expectToBe(getJsonDataSpy.calls.allArgs()[2][0], expectedTextcriticsFilePath);
+ expectSpyCall(getGraphDataSpy, 1);
+ expectSpyCall(getJsonDataSpy, 1, expectedGraphFilePath);
}));
- it('... should perform an HTTP GET request to convolute, sheets & textcritics file', waitForAsync(() => {
- // Set spy on private method
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
-
+ it('... should perform an HTTP GET request to graph file', waitForAsync(() => {
// Call service function
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -253,20 +267,12 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectSpyCall(getJsonDataSpy, 3);
-
- expectToBe(call.length, 3);
- expectToBe(call[0].request.method, 'GET');
- expectToBe(call[1].request.method, 'GET');
- expectToBe(call[2].request.method, 'GET');
-
- expectToBe(call[0].request.responseType, 'json');
- expectToBe(call[1].request.responseType, 'json');
- expectToBe(call[2].request.responseType, 'json');
+ expectSpyCall(getJsonDataSpy, 1, expectedGraphFilePath);
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
+ expectToBe(call.length, 1);
+ expectToBe(call[0]?.request.method, 'GET');
+ expectToBe(call[0]?.request.responseType, 'json');
+ expectToBe(call[0]?.request.url, expectedGraphFilePath);
// Assert that there are no more pending requests
httpTestingController.verify();
@@ -275,123 +281,57 @@ describe('EditionDataService (DONE)', () => {
describe('response', () => {
describe('success', () => {
- it('... should return a forkJoined Observable(FolioConvoluteList, EditionSvgSheetList, TextcriticsList)', waitForAsync(() => {
- const fcl = new FolioConvoluteList();
- fcl.convolutes = [];
- fcl.convolutes.push(new FolioConvolute());
- fcl.convolutes[0].convoluteId = 'test-convolute-id';
-
- const esl = new EditionSvgSheetList();
- esl.sheets = { workEditions: [], textEditions: [], sketchEditions: [] };
- esl.sheets.workEditions.push(new EditionSvgSheet());
- esl.sheets.textEditions.push(new EditionSvgSheet());
- esl.sheets.sketchEditions.push(new EditionSvgSheet());
- esl.sheets.workEditions[0].id = 'test-svg-work-sheets-id';
- esl.sheets.textEditions[0].id = 'test-svg-text-sheets-id';
- esl.sheets.sketchEditions[0].id = 'test-svg-sketch-sheets-id';
-
- const tcl = new TextcriticsList();
- tcl.textcritics = [];
- tcl.textcritics.push(new Textcritics());
- tcl.textcritics[0].id = 'test-textcritics-id';
+ it('... should return an Observable(GraphList)', waitForAsync(() => {
+ const gl = new GraphList();
+ gl.graph = [];
+ gl.graph.push(new Graph());
+ gl.graph[0].id = 'test-graph-id';
- const expectedResult = [fcl, esl, tcl];
+ const expectedResult = gl;
- // Set spy on private method
- const getFolioConvoluteDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getFolioConvoluteData'
- ).and.returnValue(observableOf(fcl));
- const getSvgSheetsDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSvgSheetsData'
- ).and.returnValue(observableOf(esl));
- const getTextcriticsListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getTextcriticsListData'
- ).and.returnValue(observableOf(tcl));
+ getGraphDataSpy.and.returnValue(observableOf(expectedResult));
// Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
next: res => {
- const resFcl = res[0] as FolioConvoluteList;
- const resEsl = res[1] as EditionSvgSheetList;
- const resTcl = res[2] as TextcriticsList;
-
- expectToBe(res.length as number, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(resFcl, expectedResult[0] as FolioConvoluteList);
- expectToEqual(resEsl, expectedResult[1] as EditionSvgSheetList);
- expectToEqual(resTcl, expectedResult[2] as TextcriticsList);
-
- expectToBe(resFcl.convolutes[0].convoluteId, 'test-convolute-id');
- expectToBe(resEsl.sheets.workEditions[0].id, 'test-svg-work-sheets-id');
- expectToBe(resEsl.sheets.textEditions[0].id, 'test-svg-text-sheets-id');
- expectToBe(resEsl.sheets.sketchEditions[0].id, 'test-svg-sketch-sheets-id');
- expectToBe(resTcl.textcritics[0].id, 'test-textcritics-id');
+ expectToBe(res.graph[0].id, 'test-graph-id');
},
error: () => {
fail('should not call error');
},
});
- expectSpyCall(getFolioConvoluteDataSpy, 1);
- expectSpyCall(getSvgSheetsDataSpy, 1);
- expectSpyCall(getTextcriticsListDataSpy, 1);
+ expectSpyCall(getGraphDataSpy, 1);
}));
- it('... should return an empty forkJoined Observable per default', waitForAsync(() => {
- const expectedResult = [new FolioConvoluteList(), new EditionSvgSheetList(), new TextcriticsList()];
+ it('... should return an empty GraphList Observable per default', waitForAsync(() => {
+ const expectedResult = new GraphList();
- // Set spy on private method
- const getFolioConvoluteDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getFolioConvoluteData'
- ).and.returnValue(EMPTY.pipe(defaultIfEmpty(new FolioConvoluteList())));
- const getSvgSheetsDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSvgSheetsData'
- ).and.returnValue(EMPTY.pipe(defaultIfEmpty(new EditionSvgSheetList())));
- const getTextcriticsListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getTextcriticsListData'
- ).and.returnValue(EMPTY.pipe(defaultIfEmpty(new TextcriticsList())));
+ getGraphDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(expectedResult)));
// Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
next: res => {
- expectToBe(res.length as number, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], expectedResult[0] as FolioConvoluteList);
- expectToEqual(res[1], expectedResult[1] as EditionSvgSheetList);
- expectToEqual(res[2], expectedResult[2] as TextcriticsList);
},
error: () => {
fail('should not call error');
},
});
- expectSpyCall(getFolioConvoluteDataSpy, 1);
- expectSpyCall(getSvgSheetsDataSpy, 1);
- expectSpyCall(getTextcriticsListDataSpy, 1);
+ expectSpyCall(getGraphDataSpy, 1);
}));
});
describe('fail', () => {
it('... should log an error for every failed request', waitForAsync(() => {
- const expectedResult = [[], [], []];
+ const expectedResult = [];
// Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], []);
- expectToEqual(res[1], []);
- expectToEqual(res[2], []);
},
error: () => {
fail('should not call error');
@@ -404,54 +344,29 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedGraphFilePath);
// Resolve request with mocked error
- call[0].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
- );
- call[1].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
- );
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
- );
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_GRAPHLIST' }));
- expectSpyCall(consoleSpy, 3);
- expectToBe(
- consoleSpy.calls.allArgs()[0][0],
- `_getJsonData failed: Http failure response for ${call[0].request.url}: 400 ERROR_LOADING_FOLIOCONVOLUTELIST`
- );
- expectToBe(
- consoleSpy.calls.allArgs()[1][0],
- `_getJsonData failed: Http failure response for ${call[1].request.url}: 400 ERROR_LOADING_EDITIONSVGSHEETLIST`
- );
- expectToBe(
- consoleSpy.calls.allArgs()[2][0],
- `_getJsonData failed: Http failure response for ${call[2].request.url}: 400 ERROR_LOADING_TEXTCRITICSLIST`
+ // Check for console output
+ expectSpyCall(
+ consoleSpy,
+ 1,
+ `_getJsonData failed: Http failure response for ${call[0]?.request.url}: 400 ERROR_LOADING_GRAPHLIST`
);
// Assert that there are no more pending requests
httpTestingController.verify();
}));
- it('... should return [[], [], []] if all requests failed', waitForAsync(() => {
- const expectedResult = [[], [], []];
+ it('... should return [] if request failed', waitForAsync(() => {
+ const expectedResult = [];
// Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], []);
- expectToEqual(res[1], []);
- expectToEqual(res[2], []);
},
error: () => {
fail('should not call error');
@@ -464,224 +379,152 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedGraphFilePath);
// Resolve request with mocked error
- call[0].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
- );
- call[1].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
- );
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
- );
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_GRAPHLIST' }));
// Check for console output
- expectSpyCall(consoleSpy, 3);
+ expectSpyCall(consoleSpy, 1);
// Assert that there are no more pending requests
httpTestingController.verify();
}));
+ });
+ });
+ });
- it('... should return [folioConvoluteList, [], []] if all but folioConvoluteList request failed', waitForAsync(() => {
- const expectedResult = [new FolioConvoluteList(), [], []];
+ describe('#getEditionComplexIntroData', () => {
+ it('... should have a method `getEditionComplexIntroData`', () => {
+ expect(editionDataService.getEditionComplexIntroData).toBeDefined();
+ });
- // Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
- next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
- expectToEqual(res, expectedResult);
+ describe('request', () => {
+ it('... should set assetPath', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionComplexIntroData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- expectToEqual(res[0], expectedResult[0]);
- expectToEqual(res[1], []);
- expectToEqual(res[2], []);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ expectToBe((editionDataService as any)._assetPath, expectedAssetPath);
+ }));
- // Expect one request to to every file with given settings
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ it('... should call #getIntroData', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionComplexIntroData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
+ expectSpyCall(getIntroDataSpy, 1);
+ }));
- // Resolve request with mocked error
- call[0].flush(expectedResult[0]);
- call[1].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
- );
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
- );
+ it('... should trigger #getJsonData with correct url', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionComplexIntroData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- // Check for console output
- expectSpyCall(consoleSpy, 2);
+ expectSpyCall(getIntroDataSpy, 1);
+ expectSpyCall(getJsonDataSpy, 1, expectedIntroFilePath);
+ }));
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
+ it('... should perform an HTTP GET request to intro file', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionComplexIntroData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- it('... should return [[], editionSvgSheetList, []] if all but editionSvgSheetList request failed', waitForAsync(() => {
- const expectedResult = [[], new EditionSvgSheetList(), []];
+ // Expect one request to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
- // Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
- next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
- expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], []);
- expectToEqual(res[1], expectedResult[1]);
- expectToEqual(res[2], []);
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- // Expect one request to to every file with given settings
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ expectSpyCall(getJsonDataSpy, 1, expectedIntroFilePath);
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
+ expectToBe(call.length, 1);
+ expectToBe(call[0]?.request.method, 'GET');
+ expectToBe(call[0]?.request.responseType, 'json');
+ expectToBe(call[0]?.request.url, expectedIntroFilePath);
- // Resolve request with mocked error
- call[0].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
- );
- call[1].flush(expectedResult[1]);
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
- );
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+ });
- // Check for console output
- expectSpyCall(consoleSpy, 2);
+ describe('response', () => {
+ describe('success', () => {
+ it('... should return an Observable(IntroList)', waitForAsync(() => {
+ const il = new IntroList();
+ il.intro = [];
+ il.intro.push(new Intro());
+ il.intro[0].id = 'test-intro-id';
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
+ const expectedResult = il;
- it('... should return [[], [], textcriticsList] if all but textcriticsList request failed', waitForAsync(() => {
- const expectedResult = [[], [], new TextcriticsList()];
+ getIntroDataSpy.and.returnValue(observableOf(expectedResult));
// Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
- next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
+ editionDataService.getEditionComplexIntroData(expectedEditionComplex).subscribe({
+ next: res => {
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], []);
- expectToEqual(res[1], []);
- expectToEqual(res[2], expectedResult[2]);
+ expectToBe(res.intro[0].id, 'test-intro-id');
},
error: () => {
fail('should not call error');
},
});
- // Expect one request to to every file with given settings
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
-
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
-
- // Resolve request with mocked error
- call[0].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
- );
- call[1].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
- );
- call[2].flush(expectedResult[2]);
-
- // Check for console output
- expectSpyCall(consoleSpy, 2);
-
- // Assert that there are no more pending requests
- httpTestingController.verify();
+ expectSpyCall(getIntroDataSpy, 1);
}));
- it('... should return [folioConvoluteList, editionSvgSheetList, []] if textcriticsList request failed', waitForAsync(() => {
- const expectedResult = [new FolioConvoluteList(), new EditionSvgSheetList(), []];
+ it('... should return an empty IntroList Observable per default', waitForAsync(() => {
+ const expectedResult = new IntroList();
+
+ getIntroDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(expectedResult)));
// Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
- next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
+ editionDataService.getEditionComplexIntroData(expectedEditionComplex).subscribe({
+ next: res => {
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], expectedResult[0]);
- expectToEqual(res[1], expectedResult[1]);
- expectToEqual(res[2], []);
},
error: () => {
fail('should not call error');
},
});
- // Expect one request to to every file with given settings
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
-
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
-
- // Resolve request with mocked error
- call[0].flush(expectedResult[0]);
- call[1].flush(expectedResult[1]);
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
- );
-
- // Check for console output
- expectSpyCall(consoleSpy, 1);
-
- // Assert that there are no more pending requests
- httpTestingController.verify();
+ expectSpyCall(getIntroDataSpy, 1);
}));
+ });
- it('... should return [folioConvoluteList, [], textcriticsList] if middle request failed', waitForAsync(() => {
- const expectedResult = [new FolioConvoluteList(), [], new TextcriticsList()];
+ describe('fail', () => {
+ it('... should log an error for every failed request', waitForAsync(() => {
+ const expectedResult = [];
// Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionComplexIntroData(expectedEditionComplex).subscribe({
next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], expectedResult[0]);
- expectToEqual(res[1], []);
- expectToEqual(res[2], expectedResult[2]);
},
error: () => {
fail('should not call error');
@@ -694,37 +537,29 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedIntroFilePath);
// Resolve request with mocked error
- call[0].flush(expectedResult[0]);
- call[1].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
- );
- call[2].flush(expectedResult[2]);
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_INTROLIST' }));
// Check for console output
- expectSpyCall(consoleSpy, 1);
+ expectSpyCall(
+ consoleSpy,
+ 1,
+ `_getJsonData failed: Http failure response for ${call[0]?.request.url}: 400 ERROR_LOADING_INTROLIST`
+ );
// Assert that there are no more pending requests
httpTestingController.verify();
}));
- it('... should return [[], editionSvgSheetList, textcriticsList] if folioConvoluteList request failed', waitForAsync(() => {
- const expectedResult = [[], new EditionSvgSheetList(), new TextcriticsList()];
+ it('... should return [] if request failed', waitForAsync(() => {
+ const expectedResult = [];
// Call service function (success)
- editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionComplexIntroData(expectedEditionComplex).subscribe({
next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], []);
- expectToEqual(res[1], expectedResult[1]);
- expectToEqual(res[2], expectedResult[2]);
},
error: () => {
fail('should not call error');
@@ -737,17 +572,10 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedFolioConvoluteFilePath);
- expectToBe(call[1].request.url, expectedSheetsFilePath);
- expectToBe(call[2].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedIntroFilePath);
// Resolve request with mocked error
- call[0].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
- );
- call[1].flush(expectedResult[1]);
- call[2].flush(expectedResult[2]);
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_INTROLIST' }));
// Check for console output
expectSpyCall(consoleSpy, 1);
@@ -759,15 +587,21 @@ describe('EditionDataService (DONE)', () => {
});
});
- describe('#getEditionReportData()', () => {
- it('... should have a method `getEditionReportData`', () => {
- expect(editionDataService.getEditionReportData).toBeDefined();
+ describe('#getEditionSectionIntroData', () => {
+ beforeEach(() => {
+ expectedAssetPath = expectedAssetPathBaseRoute + expectedIntroRoute;
+ expectedIntroFilePath = `${expectedAssetPath}/${files.introFile}`;
+ regexBase = new RegExp(expectedAssetPath);
+ });
+
+ it('... should have a method `getEditionSectionIntroData`', () => {
+ expect(editionDataService.getEditionSectionIntroData).toBeDefined();
});
describe('request', () => {
it('... should set assetPath', waitForAsync(() => {
// Call service function
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSectionIntroData(expectedSeriesRoute, expectedSectionRoute).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -779,27 +613,9 @@ describe('EditionDataService (DONE)', () => {
expectToBe((editionDataService as any)._assetPath, expectedAssetPath);
}));
- it('... should call #getSourceListData, #getSourceDescriptionListData, #getSourceEvaluationListData, #getTextcriticsListData', waitForAsync(() => {
- // Set spy on private method
- const getSourceListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceListData'
- ).and.callThrough();
- const getSourceDescriptionListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceDescriptionListData'
- ).and.callThrough();
- const getSourceEvaluationListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceEvaluationListData'
- ).and.callThrough();
- const getTextcriticsListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getTextcriticsListData'
- ).and.callThrough();
-
+ it('... should call #getIntroData', waitForAsync(() => {
// Call service function
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSectionIntroData(expectedSeriesRoute, expectedSectionRoute).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -808,18 +624,12 @@ describe('EditionDataService (DONE)', () => {
},
});
- expectSpyCall(getSourceListDataSpy, 1);
- expectSpyCall(getSourceDescriptionListDataSpy, 1);
- expectSpyCall(getSourceEvaluationListDataSpy, 1);
- expectSpyCall(getTextcriticsListDataSpy, 1);
+ expectSpyCall(getIntroDataSpy, 1);
}));
- it('... should trigger #getJsonData with correct urls', waitForAsync(() => {
- // Set spy on private method
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
-
+ it('... should trigger #getJsonData with correct url', waitForAsync(() => {
// Call service function
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSectionIntroData(expectedSeriesRoute, expectedSectionRoute).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -828,19 +638,13 @@ describe('EditionDataService (DONE)', () => {
},
});
- expectSpyCall(getJsonDataSpy, 4);
- expectToBe(getJsonDataSpy.calls.allArgs()[0][0], expectedSourceListFilePath);
- expectToBe(getJsonDataSpy.calls.allArgs()[1][0], expectedSourceDescriptionFilePath);
- expectToBe(getJsonDataSpy.calls.allArgs()[2][0], expectedSourceEvaluationFilePath);
- expectToBe(getJsonDataSpy.calls.allArgs()[3][0], expectedTextcriticsFilePath);
+ expectSpyCall(getIntroDataSpy, 1);
+ expectSpyCall(getJsonDataSpy, 1, expectedIntroFilePath);
}));
- it('... should perform an HTTP GET request to sourceList, sourceDescription, sourceEvaluation & textcritics file', waitForAsync(() => {
- // Set spy on private method
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
-
+ it('... should perform an HTTP GET request to intro file', waitForAsync(() => {
// Call service function
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSectionIntroData(expectedSeriesRoute, expectedSectionRoute).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -849,29 +653,18 @@ describe('EditionDataService (DONE)', () => {
},
});
- // Expect one request to to every file with given settings
+ // Expect one request to every file with given settings
const call = httpTestingController.match(
(req: HttpRequest) =>
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectSpyCall(getJsonDataSpy, 4);
-
- expectToBe(call.length, 4);
- expectToBe(call[0].request.method, 'GET');
- expectToBe(call[1].request.method, 'GET');
- expectToBe(call[2].request.method, 'GET');
- expectToBe(call[3].request.method, 'GET');
-
- expectToBe(call[0].request.responseType, 'json');
- expectToBe(call[1].request.responseType, 'json');
- expectToBe(call[2].request.responseType, 'json');
- expectToBe(call[3].request.responseType, 'json');
+ expectSpyCall(getJsonDataSpy, 1, expectedIntroFilePath);
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectToBe(call.length, 1);
+ expectToBe(call[0]?.request.method, 'GET');
+ expectToBe(call[0]?.request.responseType, 'json');
+ expectToBe(call[0]?.request.url, expectedIntroFilePath);
// Assert that there are no more pending requests
httpTestingController.verify();
@@ -880,109 +673,38 @@ describe('EditionDataService (DONE)', () => {
describe('response', () => {
describe('success', () => {
- it('... should return a forkJoined Observable(SourceList, SourceDescriptionList, SourceEvaluationList, TextcriticsList)', waitForAsync(() => {
- const sl = new SourceList();
- sl.sources = [];
- sl.sources.push(new Source());
- sl.sources[0].siglum = 'test-sources-id';
-
- const sdl = new SourceDescriptionList();
- sdl.sources = [];
- sdl.sources.push(new SourceDescription());
- sdl.sources[0].id = 'test-source-description-id';
-
- const sel = new SourceEvaluationList();
- sel.sources = [];
- sel.sources.push(new SourceEvaluation());
- sel.sources[0].id = 'test-source-evaluation-id';
-
- const tcl = new TextcriticsList();
- tcl.textcritics = [];
- tcl.textcritics.push(new Textcritics());
- tcl.textcritics[0].id = 'test-textcritics-id';
+ it('... should return an Observable(IntroList)', waitForAsync(() => {
+ const il = new IntroList();
+ il.intro = [];
+ il.intro.push(new Intro());
+ il.intro[0].id = 'test-intro-id';
- const expectedResult = [sl, sdl, sel, tcl];
+ const expectedResult = il;
- // Set spy on private method
- const getSourceListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceListData'
- ).and.returnValue(observableOf(sl));
- const getSourceDescriptionListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceDescriptionListData'
- ).and.returnValue(observableOf(sdl));
- const getSourceEvaluationListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceEvaluationListData'
- ).and.returnValue(observableOf(sel));
- const getTextcriticsListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getTextcriticsListData'
- ).and.returnValue(observableOf(tcl));
+ getIntroDataSpy.and.returnValue(observableOf(expectedResult));
// Call service function (success)
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSectionIntroData(expectedSeriesRoute, expectedSectionRoute).subscribe({
next: res => {
- const resSl = res[0] as SourceList;
- const resSdl = res[1] as SourceDescriptionList;
- const resSel = res[2] as SourceEvaluationList;
- const resTcl = res[3] as TextcriticsList;
-
- expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(resSl, expectedResult[0] as SourceList);
- expectToEqual(resSdl, expectedResult[1] as SourceDescriptionList);
- expectToEqual(resSel, expectedResult[2] as SourceEvaluationList);
- expectToEqual(resTcl, expectedResult[3] as TextcriticsList);
-
- expectToBe(resSl.sources[0].siglum, 'test-sources-id');
- expectToBe(resSdl.sources[0].id, 'test-source-description-id');
- expectToBe(resSel.sources[0].id, 'test-source-evaluation-id');
- expectToBe(resTcl.textcritics[0].id, 'test-textcritics-id');
+ expectToBe(res.intro[0].id, 'test-intro-id');
},
error: () => {
fail('should not call error');
},
});
- expectSpyCall(getSourceListDataSpy, 1);
- expectSpyCall(getSourceDescriptionListDataSpy, 1);
- expectSpyCall(getSourceEvaluationListDataSpy, 1);
- expectSpyCall(getTextcriticsListDataSpy, 1);
+ expectSpyCall(getIntroDataSpy, 1);
}));
- it('... should return an empty forkJoined Observable per default', waitForAsync(() => {
- const expectedResult = [
- new SourceList(),
- new SourceDescriptionList(),
- new SourceEvaluationList(),
- new TextcriticsList(),
- ];
+ it('... should return an empty IntroList Observable per default', waitForAsync(() => {
+ const expectedResult = new IntroList();
- // Set spy on private method
- const getSourceListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceListData'
- ).and.returnValue(EMPTY.pipe(defaultIfEmpty(new SourceList())));
- const getSourceDescriptionListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceDescriptionListData'
- ).and.returnValue(EMPTY.pipe(defaultIfEmpty(new SourceDescriptionList())));
- const getSourceEvaluationListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getSourceEvaluationListData'
- ).and.returnValue(EMPTY.pipe(defaultIfEmpty(new SourceEvaluationList())));
- const getTextcriticsListDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getTextcriticsListData'
- ).and.returnValue(EMPTY.pipe(defaultIfEmpty(new TextcriticsList())));
+ getIntroDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(expectedResult)));
// Call service function (success)
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSectionIntroData(expectedSeriesRoute, expectedSectionRoute).subscribe({
next: res => {
- expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
},
error: () => {
@@ -990,27 +712,18 @@ describe('EditionDataService (DONE)', () => {
},
});
- expectSpyCall(getSourceListDataSpy, 1);
- expectSpyCall(getSourceDescriptionListDataSpy, 1);
- expectSpyCall(getSourceEvaluationListDataSpy, 1);
- expectSpyCall(getTextcriticsListDataSpy, 1);
+ expectSpyCall(getIntroDataSpy, 1);
}));
});
describe('fail', () => {
it('... should log an error for every failed request', waitForAsync(() => {
- const expectedResult = [[], [], [], []];
+ const expectedResult = [];
// Call service function (success)
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSectionIntroData(expectedSeriesRoute, expectedSectionRoute).subscribe({
next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], []);
- expectToEqual(res[1], []);
- expectToEqual(res[2], []);
- expectToEqual(res[3], []);
},
error: () => {
fail('should not call error');
@@ -1023,62 +736,29 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedIntroFilePath);
// Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
- call[1].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTDESCRIPTION' })
- );
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTEVALUATION' })
- );
- call[3].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICS' })
- );
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_INTROLIST' }));
// Check for console output
- expectSpyCall(consoleSpy, 4);
- expectToBe(
- consoleSpy.calls.allArgs()[0][0],
- `_getJsonData failed: Http failure response for ${call[0].request.url}: 400 ERROR_LOADING_SOURCELIST`
- );
- expectToBe(
- consoleSpy.calls.allArgs()[1][0],
- `_getJsonData failed: Http failure response for ${call[1].request.url}: 400 ERROR_LOADING_SOURCELISTDESCRIPTION`
- );
- expectToBe(
- consoleSpy.calls.allArgs()[2][0],
- `_getJsonData failed: Http failure response for ${call[2].request.url}: 400 ERROR_LOADING_SOURCELISTEVALUATION`
- );
- expectToBe(
- consoleSpy.calls.allArgs()[3][0],
- `_getJsonData failed: Http failure response for ${call[3].request.url}: 400 ERROR_LOADING_TEXTCRITICS`
+ expectSpyCall(
+ consoleSpy,
+ 1,
+ `_getJsonData failed: Http failure response for ${call[0]?.request.url}: 400 ERROR_LOADING_INTROLIST`
);
// Assert that there are no more pending requests
httpTestingController.verify();
}));
- it('... should return [[], [], [], []] if all requests failed', waitForAsync(() => {
- const expectedResult = [[], [], [], []];
+ it('... should return [] if request failed', waitForAsync(() => {
+ const expectedResult = [];
// Call service function (success)
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSectionIntroData(expectedSeriesRoute, expectedSectionRoute).subscribe({
next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
-
- expectToEqual(res[0], []);
- expectToEqual(res[1], []);
- expectToEqual(res[2], []);
- expectToEqual(res[3], []);
},
error: () => {
fail('should not call error');
@@ -1091,163 +771,656 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedIntroFilePath);
// Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
- call[1].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTDESCRIPTION' })
- );
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTEVALUATION' })
- );
- call[3].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICS' })
- );
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_INTROLIST' }));
// Check for console output
- expectSpyCall(consoleSpy, 4);
+ expectSpyCall(consoleSpy, 1);
// Assert that there are no more pending requests
httpTestingController.verify();
}));
+ });
+ });
+ });
- it('... should return [sourceList, [], [], []] if all but sourceList request failed', waitForAsync(() => {
- const expectedResult = [new SourceList(), [], [], []];
+ describe('#getEditionPrefaceData()', () => {
+ it('... should have a method `getEditionPrefaceData`', () => {
+ expect(editionDataService.getEditionPrefaceData).toBeDefined();
+ });
- // Call service function (success)
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
- next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
- expectToEqual(res, expectedResult);
+ describe('request', () => {
+ it('... should set assetPath', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionPrefaceData().subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- expectToEqual(res[0], expectedResult[0]);
- expectToEqual(res[1], []);
- expectToEqual(res[2], []);
- expectToEqual(res[3], []);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ expectToBe((editionDataService as any)._assetPath, expectedAssetPathBaseRoute);
+ }));
- // Expect one request to to every file with given settings
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ it('... should call #_getPrefaceData', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionPrefaceData().subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectSpyCall(getPrefaceDataSpy, 1);
+ }));
- // Resolve request with mocked error
- call[0].flush(expectedResult[0]);
- call[1].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTDESCRIPTION' })
- );
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTEVALUATION' })
- );
- call[3].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICS' })
- );
+ it('... should trigger #getJsonData with correct url', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionPrefaceData().subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- // Check for console output
- expectSpyCall(consoleSpy, 3);
+ expectSpyCall(getPrefaceDataSpy, 1);
+ expectSpyCall(getJsonDataSpy, 1, expectedPrefaceFilePath);
+ }));
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
+ it('... should perform an HTTP GET request to preface file', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionPrefaceData().subscribe({
+ next: res => {
+ expectToEqual(res, new PrefaceList());
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- it('... should return [[], sourceDescriptionList, [], []] if all but sourceDescriptionList request failed', waitForAsync(() => {
- const expectedResult = [[], new SourceDescriptionList(), [], []];
+ // Expect one request to every file with given settings
+ regexBase = new RegExp(expectedAssetPathBaseRoute);
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
- // Call service function (success)
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
- next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
- expectToEqual(res, expectedResult);
+ expectSpyCall(getJsonDataSpy, 1, expectedPrefaceFilePath);
- expectToEqual(res[0], []);
- expectToEqual(res[1], expectedResult[1]);
- expectToEqual(res[2], []);
- expectToEqual(res[3], []);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ expectToBe(call.length, 1);
+ expectToBe(call[0]?.request.method, 'GET');
+ expectToBe(call[0]?.request.responseType, 'json');
+ expectToBe(call[0]?.request.url, expectedPrefaceFilePath);
- // Expect one request to to every file with given settings
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+ });
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ describe('success', () => {
+ it('... should return an Observable(PrefaceList)', waitForAsync(() => {
+ const rt = expectedPrefaceData;
- // Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
- call[1].flush(expectedResult[1]);
- call[2].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTEVALUATION' })
- );
- call[3].flush(
- null,
- new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICS' })
- );
+ const expectedResult = rt;
- // Check for console output
- expectSpyCall(consoleSpy, 3);
+ getPrefaceDataSpy.and.returnValue(observableOf(expectedResult));
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
+ // Call service function (success)
+ editionDataService.getEditionPrefaceData().subscribe({
+ next: res => {
+ expectToEqual(res, expectedResult);
+ expectToBe(res.preface[0].id, 'de');
+ expectToBe(res.preface[1].id, 'en');
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- it('... should return [[], [], sourceEvaluationList, []] if all but sourceEvaluationList request failed', waitForAsync(() => {
- const expectedResult = [[], [], new SourceEvaluationList(), []];
+ expectSpyCall(getPrefaceDataSpy, 1);
+ }));
- // Call service function (success)
- editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
- next: (res: any) => {
- expectToBe(res.length, expectedResult.length);
- expectToEqual(res, expectedResult);
+ it('... should return an empty PrefaceList Observable per default', waitForAsync(() => {
+ const expectedResult = new PrefaceList();
- expectToEqual(res[0], []);
- expectToEqual(res[1], []);
- expectToEqual(res[2], expectedResult[2]);
- expectToEqual(res[3], []);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ getPrefaceDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(expectedResult)));
- // Expect one request to to every file with given settings
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ // Call service function (success)
+ editionDataService.getEditionPrefaceData().subscribe({
+ next: res => {
+ expectToEqual(res, expectedResult);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getPrefaceDataSpy, 1);
+ }));
+ });
+
+ describe('fail', () => {
+ it('... should log an error for every failed request', waitForAsync(() => {
+ const expectedResult = [];
+
+ // Call service function (success)
+ editionDataService.getEditionPrefaceData().subscribe({
+ next: (res: any) => {
+ expectToEqual(res, expectedResult);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ regexBase = new RegExp(expectedAssetPathBaseRoute);
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectToBe(call[0]?.request.url, expectedPrefaceFilePath);
+
+ // Resolve request with mocked error
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_PREFACELIST' }));
+
+ // Check for console output
+ expectSpyCall(
+ consoleSpy,
+ 1,
+ `_getJsonData failed: Http failure response for ${call[0]?.request.url}: 400 ERROR_LOADING_PREFACELIST`
+ );
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+
+ it('... should return [] if request failed', waitForAsync(() => {
+ const expectedResult = [];
+
+ // Call service function (success)
+ editionDataService.getEditionPrefaceData().subscribe({
+ next: (res: any) => {
+ expectToEqual(res, expectedResult);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ regexBase = new RegExp(expectedAssetPathBaseRoute);
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectToBe(call[0]?.request.url, expectedPrefaceFilePath);
+
+ // Resolve request with mocked error
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_PREFACELIST' }));
+
+ // Check for console output
+ expectSpyCall(consoleSpy, 1);
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+ });
+ });
+
+ describe('#getEditionReportData()', () => {
+ it('... should have a method `getEditionReportData`', () => {
+ expect(editionDataService.getEditionReportData).toBeDefined();
+ });
+
+ describe('request', () => {
+ it('... should set assetPath', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectToBe((editionDataService as any)._assetPath, expectedAssetPath);
+ }));
+
+ it('... should call #getSourceListData, #getSourceDescriptionListData, #getSourceEvaluationListData, #getTextcriticsListData', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getSourceListDataSpy, 1);
+ expectSpyCall(getSourceDescriptionListDataSpy, 1);
+ expectSpyCall(getSourceEvaluationListDataSpy, 1);
+ expectSpyCall(getTextcriticsListDataSpy, 1);
+ }));
+
+ it('... should trigger #getJsonData with correct urls', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getJsonDataSpy, 4);
+ expectToBe(getJsonDataSpy.calls.allArgs()[0][0], expectedSourceListFilePath);
+ expectToBe(getJsonDataSpy.calls.allArgs()[1][0], expectedSourceDescriptionFilePath);
+ expectToBe(getJsonDataSpy.calls.allArgs()[2][0], expectedSourceEvaluationFilePath);
+ expectToBe(getJsonDataSpy.calls.allArgs()[3][0], expectedTextcriticsFilePath);
+ }));
+
+ it('... should perform an HTTP GET request to sourceList, sourceDescription, sourceEvaluation & textcritics file', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectSpyCall(getJsonDataSpy, 4);
+
+ expectToBe(call.length, 4);
+ expectToBe(call[0]?.request.method, 'GET');
+ expectToBe(call[1]?.request.method, 'GET');
+ expectToBe(call[2]?.request.method, 'GET');
+ expectToBe(call[3]?.request.method, 'GET');
+
+ expectToBe(call[0]?.request.responseType, 'json');
+ expectToBe(call[1]?.request.responseType, 'json');
+ expectToBe(call[2]?.request.responseType, 'json');
+ expectToBe(call[3]?.request.responseType, 'json');
+
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+ });
+
+ describe('response', () => {
+ describe('success', () => {
+ it('... should return a forkJoined Observable(SourceList, SourceDescriptionList, SourceEvaluationList, TextcriticsList)', waitForAsync(() => {
+ const sl = new SourceList();
+ sl.sources = [];
+ sl.sources.push(new Source());
+ sl.sources[0].siglum = 'test-sources-id';
+
+ const sdl = new SourceDescriptionList();
+ sdl.sources = [];
+ sdl.sources.push(new SourceDescription());
+ sdl.sources[0].id = 'test-source-description-id';
+
+ const sel = new SourceEvaluationList();
+ sel.sources = [];
+ sel.sources.push(new SourceEvaluation());
+ sel.sources[0].id = 'test-source-evaluation-id';
+
+ const tcl = new TextcriticsList();
+ tcl.textcritics = [];
+ tcl.textcritics.push(new Textcritics());
+ tcl.textcritics[0].id = 'test-textcritics-id';
+
+ const expectedResult = [sl, sdl, sel, tcl];
+
+ getSourceListDataSpy.and.returnValue(observableOf(sl));
+ getSourceDescriptionListDataSpy.and.returnValue(observableOf(sdl));
+ getSourceEvaluationListDataSpy.and.returnValue(observableOf(sel));
+ getTextcriticsListDataSpy.and.returnValue(observableOf(tcl));
+
+ // Call service function (success)
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: res => {
+ const resSl = res[0] as SourceList;
+ const resSdl = res[1] as SourceDescriptionList;
+ const resSel = res[2] as SourceEvaluationList;
+ const resTcl = res[3] as TextcriticsList;
+
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
+
+ expectToEqual(resSl, expectedResult[0] as SourceList);
+ expectToEqual(resSdl, expectedResult[1] as SourceDescriptionList);
+ expectToEqual(resSel, expectedResult[2] as SourceEvaluationList);
+ expectToEqual(resTcl, expectedResult[3] as TextcriticsList);
+
+ expectToBe(resSl.sources[0].siglum, 'test-sources-id');
+ expectToBe(resSdl.sources[0].id, 'test-source-description-id');
+ expectToBe(resSel.sources[0].id, 'test-source-evaluation-id');
+ expectToBe(resTcl.textcritics[0].id, 'test-textcritics-id');
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getSourceListDataSpy, 1);
+ expectSpyCall(getSourceDescriptionListDataSpy, 1);
+ expectSpyCall(getSourceEvaluationListDataSpy, 1);
+ expectSpyCall(getTextcriticsListDataSpy, 1);
+ }));
+
+ it('... should return an empty forkJoined Observable per default', waitForAsync(() => {
+ const expectedResult = [
+ new SourceList(),
+ new SourceDescriptionList(),
+ new SourceEvaluationList(),
+ new TextcriticsList(),
+ ];
+
+ getSourceListDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(new SourceList())));
+ getSourceDescriptionListDataSpy.and.returnValue(
+ EMPTY.pipe(defaultIfEmpty(new SourceDescriptionList()))
+ );
+ getSourceEvaluationListDataSpy.and.returnValue(
+ EMPTY.pipe(defaultIfEmpty(new SourceEvaluationList()))
+ );
+ getTextcriticsListDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(new TextcriticsList())));
+
+ // Call service function (success)
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: res => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getSourceListDataSpy, 1);
+ expectSpyCall(getSourceDescriptionListDataSpy, 1);
+ expectSpyCall(getSourceEvaluationListDataSpy, 1);
+ expectSpyCall(getTextcriticsListDataSpy, 1);
+ }));
+ });
+
+ describe('fail', () => {
+ it('... should log an error for every failed request', waitForAsync(() => {
+ const expectedResult = [[], [], [], []];
+
+ // Call service function (success)
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], []);
+ expectToEqual(res[3], []);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
+
+ // Resolve request with mocked error
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
+ call[1].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTDESCRIPTION' })
+ );
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTEVALUATION' })
+ );
+ call[3].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICS' })
+ );
+
+ // Check for console output
+ expectSpyCall(consoleSpy, 4);
+ expectToBe(
+ consoleSpy.calls.allArgs()[0][0],
+ `_getJsonData failed: Http failure response for ${call[0]?.request.url}: 400 ERROR_LOADING_SOURCELIST`
+ );
+ expectToBe(
+ consoleSpy.calls.allArgs()[1][0],
+ `_getJsonData failed: Http failure response for ${call[1]?.request.url}: 400 ERROR_LOADING_SOURCELISTDESCRIPTION`
+ );
+ expectToBe(
+ consoleSpy.calls.allArgs()[2][0],
+ `_getJsonData failed: Http failure response for ${call[2]?.request.url}: 400 ERROR_LOADING_SOURCELISTEVALUATION`
+ );
+ expectToBe(
+ consoleSpy.calls.allArgs()[3][0],
+ `_getJsonData failed: Http failure response for ${call[3]?.request.url}: 400 ERROR_LOADING_TEXTCRITICS`
+ );
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+
+ it('... should return [[], [], [], []] if all requests failed', waitForAsync(() => {
+ const expectedResult = [[], [], [], []];
+
+ // Call service function (success)
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], []);
+ expectToEqual(res[3], []);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
+
+ // Resolve request with mocked error
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
+ call[1].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTDESCRIPTION' })
+ );
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTEVALUATION' })
+ );
+ call[3].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICS' })
+ );
+
+ // Check for console output
+ expectSpyCall(consoleSpy, 4);
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+
+ it('... should return [sourceList, [], [], []] if all but sourceList request failed', waitForAsync(() => {
+ const expectedResult = [new SourceList(), [], [], []];
+
+ // Call service function (success)
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], expectedResult[0]);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], []);
+ expectToEqual(res[3], []);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
+
+ // Resolve request with mocked error
+ call[0].flush(expectedResult[0]);
+ call[1].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTDESCRIPTION' })
+ );
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTEVALUATION' })
+ );
+ call[3].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICS' })
+ );
+
+ // Check for console output
+ expectSpyCall(consoleSpy, 3);
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+
+ it('... should return [[], sourceDescriptionList, [], []] if all but sourceDescriptionList request failed', waitForAsync(() => {
+ const expectedResult = [[], new SourceDescriptionList(), [], []];
+
+ // Call service function (success)
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], expectedResult[1]);
+ expectToEqual(res[2], []);
+ expectToEqual(res[3], []);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
+
+ // Resolve request with mocked error
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
+ call[1].flush(expectedResult[1]);
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELISTEVALUATION' })
+ );
+ call[3].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICS' })
+ );
+
+ // Check for console output
+ expectSpyCall(consoleSpy, 3);
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+
+ it('... should return [[], [], sourceEvaluationList, []] if all but sourceEvaluationList request failed', waitForAsync(() => {
+ const expectedResult = [[], [], new SourceEvaluationList(), []];
+
+ // Call service function (success)
+ editionDataService.getEditionReportData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], expectedResult[2]);
+ expectToEqual(res[3], []);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
@@ -1293,10 +1466,10 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
@@ -1347,10 +1520,10 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
call[0].flush(expectedResult[0]);
@@ -1393,10 +1566,10 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
call[0].flush(expectedResult[0]);
@@ -1447,10 +1620,10 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedSourceListFilePath);
- expectToBe(call[1].request.url, expectedSourceDescriptionFilePath);
- expectToBe(call[2].request.url, expectedSourceEvaluationFilePath);
- expectToBe(call[3].request.url, expectedTextcriticsFilePath);
+ expectToBe(call[0]?.request.url, expectedSourceListFilePath);
+ expectToBe(call[1]?.request.url, expectedSourceDescriptionFilePath);
+ expectToBe(call[2]?.request.url, expectedSourceEvaluationFilePath);
+ expectToBe(call[3]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_SOURCELIST' }));
@@ -1468,15 +1641,15 @@ describe('EditionDataService (DONE)', () => {
});
});
- describe('#getEditionGraphData()', () => {
- it('... should have a method `getEditionGraphData`', () => {
- expect(editionDataService.getEditionGraphData).toBeDefined();
+ describe('#getEditionRowTablesData()', () => {
+ it('... should have a method `getEditionRowTablesData`', () => {
+ expect(editionDataService.getEditionRowTablesData).toBeDefined();
});
describe('request', () => {
it('... should set assetPath', waitForAsync(() => {
// Call service function
- editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionRowTablesData().subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -1485,15 +1658,12 @@ describe('EditionDataService (DONE)', () => {
},
});
- expectToBe((editionDataService as any)._assetPath, expectedAssetPath);
+ expectToBe((editionDataService as any)._assetPath, expectedAssetPathBaseRoute);
}));
- it('... should call #getGraphData', waitForAsync(() => {
- // Set spy on private method
- const getGraphDataSpy: Spy = spyOn(editionDataService as any, '_getGraphData').and.callThrough();
-
+ it('... should call #_getRowTablesData', waitForAsync(() => {
// Call service function
- editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionRowTablesData().subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -1502,16 +1672,175 @@ describe('EditionDataService (DONE)', () => {
},
});
- expectSpyCall(getGraphDataSpy, 1);
+ expectSpyCall(getRowTablesDataSpy, 1);
}));
it('... should trigger #getJsonData with correct url', waitForAsync(() => {
- // Set spy on private method
- const getGraphDataSpy: Spy = spyOn(editionDataService as any, '_getGraphData').and.callThrough();
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
+ // Call service function
+ editionDataService.getEditionRowTablesData().subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getRowTablesDataSpy, 1);
+ expectSpyCall(getJsonDataSpy, 1, expectedRowTablesFilePath);
+ }));
+ it('... should perform an HTTP GET request to rowTables file', waitForAsync(() => {
// Call service function
- editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionRowTablesData().subscribe({
+ next: res => {
+ expectToEqual(res, new EditionRowTablesList());
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to every file with given settings
+ regexBase = new RegExp(expectedAssetPathBaseRoute);
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectSpyCall(getJsonDataSpy, 1, expectedRowTablesFilePath);
+
+ expectToBe(call.length, 1);
+ expectToBe(call[0]?.request.method, 'GET');
+ expectToBe(call[0]?.request.responseType, 'json');
+ expectToBe(call[0]?.request.url, expectedRowTablesFilePath);
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+ });
+
+ describe('success', () => {
+ it('... should return an Observable(EditionRowTablesList)', waitForAsync(() => {
+ const rt = expectedRowTablesData;
+
+ const expectedResult = rt;
+
+ getRowTablesDataSpy.and.returnValue(observableOf(expectedResult));
+
+ // Call service function (success)
+ editionDataService.getEditionRowTablesData().subscribe({
+ next: res => {
+ expectToEqual(res, expectedResult);
+ expectToBe(res.rowTables[0].id, 'SkRT');
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getRowTablesDataSpy, 1);
+ }));
+
+ it('... should return an empty EditionRowTablesList Observable per default', waitForAsync(() => {
+ const expectedResult = new EditionRowTablesList();
+
+ getRowTablesDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(expectedResult)));
+
+ // Call service function (success)
+ editionDataService.getEditionRowTablesData().subscribe({
+ next: res => {
+ expectToEqual(res, expectedResult);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getRowTablesDataSpy, 1);
+ }));
+ });
+
+ describe('fail', () => {
+ it('... should log an error for every failed request', waitForAsync(() => {
+ const expectedResult = [];
+
+ // Call service function (success)
+ editionDataService.getEditionRowTablesData().subscribe({
+ next: (res: any) => {
+ expectToEqual(res, expectedResult);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ regexBase = new RegExp(expectedAssetPathBaseRoute);
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectToBe(call[0]?.request.url, expectedRowTablesFilePath);
+
+ // Resolve request with mocked error
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_ROWTABLESLIST' }));
+
+ // Check for console output
+ expectSpyCall(
+ consoleSpy,
+ 1,
+ `_getJsonData failed: Http failure response for ${call[0]?.request.url}: 400 ERROR_LOADING_ROWTABLESLIST`
+ );
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+
+ it('... should return [] if request failed', waitForAsync(() => {
+ const expectedResult = [];
+
+ // Call service function (success)
+ editionDataService.getEditionRowTablesData().subscribe({
+ next: (res: any) => {
+ expectToEqual(res, expectedResult);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ // Expect one request to to every file with given settings
+ regexBase = new RegExp(expectedAssetPathBaseRoute);
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
+
+ expectToBe(call[0]?.request.url, expectedRowTablesFilePath);
+
+ // Resolve request with mocked error
+ call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_ROWTABLESLIST' }));
+
+ // Check for console output
+ expectSpyCall(consoleSpy, 1);
+
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+ });
+ });
+
+ describe('#getEditionSheetsData()', () => {
+ it('... should have a method `getEditionSheetsData`', () => {
+ expect(editionDataService.getEditionSheetsData).toBeDefined();
+ });
+
+ describe('request', () => {
+ it('... should set assetPath', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -1520,16 +1849,45 @@ describe('EditionDataService (DONE)', () => {
},
});
- expectSpyCall(getGraphDataSpy, 1);
- expectSpyCall(getJsonDataSpy, 1, expectedGraphFilePath);
+ expectToBe((editionDataService as any)._assetPath, expectedAssetPath);
}));
- it('... should perform an HTTP GET request to graph file', waitForAsync(() => {
- // Set spy on private method
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
+ it('... should call #getFolioConvoluteData, #getSvgSheetsData, #getTextcriticsListData', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getFolioConvoluteDataSpy, 1);
+ expectSpyCall(getSvgSheetsDataSpy, 1);
+ expectSpyCall(getTextcriticsListDataSpy, 1);
+ }));
+
+ it('... should trigger #getJsonData with correct urls', waitForAsync(() => {
+ // Call service function
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ next: res => {
+ expect(res).toBeTruthy();
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
+
+ expectSpyCall(getJsonDataSpy, 3);
+ expectToBe(getJsonDataSpy.calls.allArgs()[0][0], expectedFolioConvoluteFilePath);
+ expectToBe(getJsonDataSpy.calls.allArgs()[1][0], expectedSheetsFilePath);
+ expectToBe(getJsonDataSpy.calls.allArgs()[2][0], expectedTextcriticsFilePath);
+ }));
+ it('... should perform an HTTP GET request to convolute, sheets & textcritics file', waitForAsync(() => {
// Call service function
- editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
next: res => {
expect(res).toBeTruthy();
},
@@ -1544,12 +1902,20 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectSpyCall(getJsonDataSpy, 1, expectedGraphFilePath);
+ expectSpyCall(getJsonDataSpy, 3);
- expectToBe(call.length, 1);
- expectToBe(call[0].request.method, 'GET');
- expectToBe(call[0].request.responseType, 'json');
- expectToBe(call[0].request.url, expectedGraphFilePath);
+ expectToBe(call.length, 3);
+ expectToBe(call[0]?.request.method, 'GET');
+ expectToBe(call[1]?.request.method, 'GET');
+ expectToBe(call[2]?.request.method, 'GET');
+
+ expectToBe(call[0]?.request.responseType, 'json');
+ expectToBe(call[1]?.request.responseType, 'json');
+ expectToBe(call[2]?.request.responseType, 'json');
+
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
// Assert that there are no more pending requests
httpTestingController.verify();
@@ -1558,63 +1924,103 @@ describe('EditionDataService (DONE)', () => {
describe('response', () => {
describe('success', () => {
- it('... should return an Observable(GraphList)', waitForAsync(() => {
- const gl = new GraphList();
- gl.graph = [];
- gl.graph.push(new Graph());
- gl.graph[0].id = 'test-graph-id';
+ it('... should return a forkJoined Observable(FolioConvoluteList, EditionSvgSheetList, TextcriticsList)', waitForAsync(() => {
+ const fcl = new FolioConvoluteList();
+ fcl.convolutes = [];
+ fcl.convolutes.push(new FolioConvolute());
+ fcl.convolutes[0].convoluteId = 'test-convolute-id';
- const expectedResult = gl;
+ const esl = new EditionSvgSheetList();
+ esl.sheets = { workEditions: [], textEditions: [], sketchEditions: [] };
+ esl.sheets.workEditions.push(new EditionSvgSheet());
+ esl.sheets.textEditions.push(new EditionSvgSheet());
+ esl.sheets.sketchEditions.push(new EditionSvgSheet());
+ esl.sheets.workEditions[0].id = 'test-svg-work-sheets-id';
+ esl.sheets.textEditions[0].id = 'test-svg-text-sheets-id';
+ esl.sheets.sketchEditions[0].id = 'test-svg-sketch-sheets-id';
- // Set spy on private method
- const getGraphDataSpy: Spy = spyOn(editionDataService as any, '_getGraphData').and.returnValue(
- observableOf(expectedResult)
- );
+ const tcl = new TextcriticsList();
+ tcl.textcritics = [];
+ tcl.textcritics.push(new Textcritics());
+ tcl.textcritics[0].id = 'test-textcritics-id';
+
+ const expectedResult = [fcl, esl, tcl];
+
+ getFolioConvoluteDataSpy.and.returnValue(observableOf(fcl));
+ getSvgSheetsDataSpy.and.returnValue(observableOf(esl));
+ getTextcriticsListDataSpy.and.returnValue(observableOf(tcl));
// Call service function (success)
- editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
next: res => {
+ const resFcl = res[0] as FolioConvoluteList;
+ const resEsl = res[1] as EditionSvgSheetList;
+ const resTcl = res[2] as TextcriticsList;
+
+ expectToBe(res.length as number, expectedResult.length);
expectToEqual(res, expectedResult);
- expectToBe(res.graph[0].id, 'test-graph-id');
+
+ expectToEqual(resFcl, expectedResult[0] as FolioConvoluteList);
+ expectToEqual(resEsl, expectedResult[1] as EditionSvgSheetList);
+ expectToEqual(resTcl, expectedResult[2] as TextcriticsList);
+
+ expectToBe(resFcl.convolutes[0].convoluteId, 'test-convolute-id');
+ expectToBe(resEsl.sheets.workEditions[0].id, 'test-svg-work-sheets-id');
+ expectToBe(resEsl.sheets.textEditions[0].id, 'test-svg-text-sheets-id');
+ expectToBe(resEsl.sheets.sketchEditions[0].id, 'test-svg-sketch-sheets-id');
+ expectToBe(resTcl.textcritics[0].id, 'test-textcritics-id');
},
error: () => {
fail('should not call error');
},
});
- expectSpyCall(getGraphDataSpy, 1);
+ expectSpyCall(getFolioConvoluteDataSpy, 1);
+ expectSpyCall(getSvgSheetsDataSpy, 1);
+ expectSpyCall(getTextcriticsListDataSpy, 1);
}));
- it('... should return an empty GraphList Observable per default', waitForAsync(() => {
- const expectedResult = new GraphList();
+ it('... should return an empty forkJoined Observable per default', waitForAsync(() => {
+ const expectedResult = [new FolioConvoluteList(), new EditionSvgSheetList(), new TextcriticsList()];
- // Set spy on private method
- const getGraphDataSpy: Spy = spyOn(editionDataService as any, '_getGraphData').and.returnValue(
- EMPTY.pipe(defaultIfEmpty(expectedResult))
- );
+ getFolioConvoluteDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(new FolioConvoluteList())));
+ getSvgSheetsDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(new EditionSvgSheetList())));
+ getTextcriticsListDataSpy.and.returnValue(EMPTY.pipe(defaultIfEmpty(new TextcriticsList())));
// Call service function (success)
- editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
next: res => {
+ expectToBe(res.length as number, expectedResult.length);
expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], expectedResult[0] as FolioConvoluteList);
+ expectToEqual(res[1], expectedResult[1] as EditionSvgSheetList);
+ expectToEqual(res[2], expectedResult[2] as TextcriticsList);
},
error: () => {
fail('should not call error');
},
});
- expectSpyCall(getGraphDataSpy, 1);
+ expectSpyCall(getFolioConvoluteDataSpy, 1);
+ expectSpyCall(getSvgSheetsDataSpy, 1);
+ expectSpyCall(getTextcriticsListDataSpy, 1);
}));
});
describe('fail', () => {
it('... should log an error for every failed request', waitForAsync(() => {
- const expectedResult = [];
+ const expectedResult = [[], [], []];
// Call service function (success)
- editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], []);
},
error: () => {
fail('should not call error');
@@ -1627,29 +2033,54 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedGraphFilePath);
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_GRAPHLIST' }));
+ call[0].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
+ );
+ call[1].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
+ );
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
+ );
- // Check for console output
- expectSpyCall(
- consoleSpy,
- 1,
- `_getJsonData failed: Http failure response for ${call[0].request.url}: 400 ERROR_LOADING_GRAPHLIST`
+ expectSpyCall(consoleSpy, 3);
+ expectToBe(
+ consoleSpy.calls.allArgs()[0][0],
+ `_getJsonData failed: Http failure response for ${call[0]?.request.url}: 400 ERROR_LOADING_FOLIOCONVOLUTELIST`
+ );
+ expectToBe(
+ consoleSpy.calls.allArgs()[1][0],
+ `_getJsonData failed: Http failure response for ${call[1]?.request.url}: 400 ERROR_LOADING_EDITIONSVGSHEETLIST`
+ );
+ expectToBe(
+ consoleSpy.calls.allArgs()[2][0],
+ `_getJsonData failed: Http failure response for ${call[2]?.request.url}: 400 ERROR_LOADING_TEXTCRITICSLIST`
);
// Assert that there are no more pending requests
httpTestingController.verify();
}));
- it('... should return [] if request failed', waitForAsync(() => {
- const expectedResult = [];
+ it('... should return [[], [], []] if all requests failed', waitForAsync(() => {
+ const expectedResult = [[], [], []];
// Call service function (success)
- editionDataService.getEditionGraphData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], []);
},
error: () => {
fail('should not call error');
@@ -1662,168 +2093,43 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedGraphFilePath);
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_GRAPHLIST' }));
+ call[0].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
+ );
+ call[1].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
+ );
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
+ );
// Check for console output
- expectSpyCall(consoleSpy, 1);
+ expectSpyCall(consoleSpy, 3);
// Assert that there are no more pending requests
httpTestingController.verify();
}));
- });
- });
- });
-
- describe('#getEditionIntroData', () => {
- it('... should have a method `getEditionIntroData`', () => {
- expect(editionDataService.getEditionIntroData).toBeDefined();
- });
-
- describe('request', () => {
- it('... should set assetPath', waitForAsync(() => {
- // Call service function
- editionDataService.getEditionIntroData(expectedEditionComplex).subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- expectToBe((editionDataService as any)._assetPath, expectedAssetPath);
- }));
-
- it('... should call #getIntroData', waitForAsync(() => {
- // Set spy on private method
- const getIntroDataSpy: Spy = spyOn(editionDataService as any, '_getIntroData').and.callThrough();
-
- // Call service function
- editionDataService.getEditionIntroData(expectedEditionComplex).subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- expectSpyCall(getIntroDataSpy, 1);
- }));
-
- it('... should trigger #getJsonData with correct url', waitForAsync(() => {
- // Set spy on private method
- const getIntroDataSpy: Spy = spyOn(editionDataService as any, '_getIntroData').and.callThrough();
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
-
- // Call service function
- editionDataService.getEditionIntroData(expectedEditionComplex).subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- expectSpyCall(getIntroDataSpy, 1);
- expectSpyCall(getJsonDataSpy, 1, expectedIntroFilePath);
- }));
-
- it('... should perform an HTTP GET request to intro file', waitForAsync(() => {
- // Set spy on private method
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
-
- // Call service function
- editionDataService.getEditionIntroData(expectedEditionComplex).subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- // Expect one request to every file with given settings
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
-
- expectSpyCall(getJsonDataSpy, 1, expectedIntroFilePath);
-
- expectToBe(call.length, 1);
- expectToBe(call[0].request.method, 'GET');
- expectToBe(call[0].request.responseType, 'json');
- expectToBe(call[0].request.url, expectedIntroFilePath);
-
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
- });
-
- describe('response', () => {
- describe('success', () => {
- it('... should return an Observable(IntroList)', waitForAsync(() => {
- const il = new IntroList();
- il.intro = [];
- il.intro.push(new Intro());
- il.intro[0].id = 'test-intro-id';
-
- const expectedResult = il;
-
- // Set spy on private method
- const getIntroDataSpy: Spy = spyOn(editionDataService as any, '_getIntroData').and.returnValue(
- observableOf(expectedResult)
- );
-
- // Call service function (success)
- editionDataService.getEditionIntroData(expectedEditionComplex).subscribe({
- next: res => {
- expectToEqual(res, expectedResult);
- expectToBe(res.intro[0].id, 'test-intro-id');
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- expectSpyCall(getIntroDataSpy, 1);
- }));
-
- it('... should return an empty IntroList Observable per default', waitForAsync(() => {
- const expectedResult = new IntroList();
-
- // Set spy on private method
- const getIntroDataSpy: Spy = spyOn(editionDataService as any, '_getIntroData').and.returnValue(
- EMPTY.pipe(defaultIfEmpty(expectedResult))
- );
-
- // Call service function (success)
- editionDataService.getEditionIntroData(expectedEditionComplex).subscribe({
- next: res => {
- expectToEqual(res, expectedResult);
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- expectSpyCall(getIntroDataSpy, 1);
- }));
- });
- describe('fail', () => {
- it('... should log an error for every failed request', waitForAsync(() => {
- const expectedResult = [];
+ it('... should return [folioConvoluteList, [], []] if all but folioConvoluteList request failed', waitForAsync(() => {
+ const expectedResult = [new FolioConvoluteList(), [], []];
// Call service function (success)
- editionDataService.getEditionIntroData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], expectedResult[0]);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], []);
},
error: () => {
fail('should not call error');
@@ -1836,29 +2142,40 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedIntroFilePath);
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_INTROLIST' }));
+ call[0].flush(expectedResult[0]);
+ call[1].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
+ );
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
+ );
// Check for console output
- expectSpyCall(
- consoleSpy,
- 1,
- `_getJsonData failed: Http failure response for ${call[0].request.url}: 400 ERROR_LOADING_INTROLIST`
- );
+ expectSpyCall(consoleSpy, 2);
// Assert that there are no more pending requests
httpTestingController.verify();
}));
- it('... should return [] if request failed', waitForAsync(() => {
- const expectedResult = [];
+ it('... should return [[], editionSvgSheetList, []] if all but editionSvgSheetList request failed', waitForAsync(() => {
+ const expectedResult = [[], new EditionSvgSheetList(), []];
// Call service function (success)
- editionDataService.getEditionIntroData(expectedEditionComplex).subscribe({
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
expectToEqual(res, expectedResult);
+
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], expectedResult[1]);
+ expectToEqual(res[2], []);
},
error: () => {
fail('should not call error');
@@ -1871,439 +2188,312 @@ describe('EditionDataService (DONE)', () => {
req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
);
- expectToBe(call[0].request.url, expectedIntroFilePath);
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
// Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_INTROLIST' }));
+ call[0].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
+ );
+ call[1].flush(expectedResult[1]);
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
+ );
// Check for console output
- expectSpyCall(consoleSpy, 1);
+ expectSpyCall(consoleSpy, 2);
// Assert that there are no more pending requests
httpTestingController.verify();
}));
- });
- });
- });
-
- describe('#getEditionPrefaceData()', () => {
- it('... should have a method `getEditionPrefaceData`', () => {
- expect(editionDataService.getEditionPrefaceData).toBeDefined();
- });
-
- describe('request', () => {
- it('... should set assetPath', waitForAsync(() => {
- // Call service function
- editionDataService.getEditionPrefaceData().subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- expectToBe((editionDataService as any)._assetPath, expectedAssetPathBaseRoute);
- }));
-
- it('... should call #_getPrefaceData', waitForAsync(() => {
- // Set spy on private method
- const getPrefaceDataSpy: Spy = spyOn(editionDataService as any, '_getPrefaceData').and.callThrough();
-
- // Call service function
- editionDataService.getEditionPrefaceData().subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- expectSpyCall(getPrefaceDataSpy, 1);
- }));
-
- it('... should trigger #getJsonData with correct url', waitForAsync(() => {
- // Set spy on private method
- const getPrefaceDataSpy: Spy = spyOn(editionDataService as any, '_getPrefaceData').and.callThrough();
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
-
- // Call service function
- editionDataService.getEditionPrefaceData().subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- expectSpyCall(getPrefaceDataSpy, 1);
- expectSpyCall(getJsonDataSpy, 1, expectedPrefaceFilePath);
- }));
-
- it('... should perform an HTTP GET request to preface file', waitForAsync(() => {
- // Set spy on private method
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
-
- // Call service function
- editionDataService.getEditionPrefaceData().subscribe({
- next: res => {
- expectToEqual(res, new PrefaceList());
- },
- error: () => {
- fail('should not call error');
- },
- });
-
- // Expect one request to every file with given settings
- regexBase = new RegExp(expectedAssetPathBaseRoute);
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
-
- expectSpyCall(getJsonDataSpy, 1, expectedPrefaceFilePath);
-
- expectToBe(call.length, 1);
- expectToBe(call[0].request.method, 'GET');
- expectToBe(call[0].request.responseType, 'json');
- expectToBe(call[0].request.url, expectedPrefaceFilePath);
-
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
- });
-
- describe('success', () => {
- it('... should return an Observable(PrefaceList)', waitForAsync(() => {
- const rt = expectedPrefaceData;
-
- const expectedResult = rt;
- // Set spy on private method
- const getPrefaceDataSpy: Spy = spyOn(editionDataService as any, '_getPrefaceData').and.returnValue(
- observableOf(expectedResult)
- );
+ it('... should return [[], [], textcriticsList] if all but textcriticsList request failed', waitForAsync(() => {
+ const expectedResult = [[], [], new TextcriticsList()];
- // Call service function (success)
- editionDataService.getEditionPrefaceData().subscribe({
- next: res => {
- expectToEqual(res, expectedResult);
- expectToBe(res.preface[0].id, 'de');
- expectToBe(res.preface[1].id, 'en');
- },
- error: () => {
- fail('should not call error');
- },
- });
+ // Call service function (success)
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
- expectSpyCall(getPrefaceDataSpy, 1);
- }));
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], expectedResult[2]);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- it('... should return an empty PrefaceList Observable per default', waitForAsync(() => {
- const expectedResult = new PrefaceList();
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
- // Set spy on private method
- const getPrefaceDataSpy: Spy = spyOn(editionDataService as any, '_getPrefaceData').and.returnValue(
- EMPTY.pipe(defaultIfEmpty(expectedResult))
- );
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
- // Call service function (success)
- editionDataService.getEditionPrefaceData().subscribe({
- next: res => {
- expectToEqual(res, expectedResult);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ // Resolve request with mocked error
+ call[0].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
+ );
+ call[1].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
+ );
+ call[2].flush(expectedResult[2]);
- expectSpyCall(getPrefaceDataSpy, 1);
- }));
- });
+ // Check for console output
+ expectSpyCall(consoleSpy, 2);
- describe('fail', () => {
- it('... should log an error for every failed request', waitForAsync(() => {
- const expectedResult = [];
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
- // Call service function (success)
- editionDataService.getEditionPrefaceData().subscribe({
- next: (res: any) => {
- expectToEqual(res, expectedResult);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ it('... should return [folioConvoluteList, editionSvgSheetList, []] if textcriticsList request failed', waitForAsync(() => {
+ const expectedResult = [new FolioConvoluteList(), new EditionSvgSheetList(), []];
- // Expect one request to to every file with given settings
- regexBase = new RegExp(expectedAssetPathBaseRoute);
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ // Call service function (success)
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
- expectToBe(call[0].request.url, expectedPrefaceFilePath);
+ expectToEqual(res[0], expectedResult[0]);
+ expectToEqual(res[1], expectedResult[1]);
+ expectToEqual(res[2], []);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- // Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_PREFACELIST' }));
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
- // Check for console output
- expectSpyCall(
- consoleSpy,
- 1,
- `_getJsonData failed: Http failure response for ${call[0].request.url}: 400 ERROR_LOADING_PREFACELIST`
- );
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
+ // Resolve request with mocked error
+ call[0].flush(expectedResult[0]);
+ call[1].flush(expectedResult[1]);
+ call[2].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_TEXTCRITICSLIST' })
+ );
- it('... should return [] if request failed', waitForAsync(() => {
- const expectedResult = [];
+ // Check for console output
+ expectSpyCall(consoleSpy, 1);
- // Call service function (success)
- editionDataService.getEditionPrefaceData().subscribe({
- next: (res: any) => {
- expectToEqual(res, expectedResult);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
- // Expect one request to to every file with given settings
- regexBase = new RegExp(expectedAssetPathBaseRoute);
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ it('... should return [folioConvoluteList, [], textcriticsList] if middle request failed', waitForAsync(() => {
+ const expectedResult = [new FolioConvoluteList(), [], new TextcriticsList()];
- expectToBe(call[0].request.url, expectedPrefaceFilePath);
+ // Call service function (success)
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
- // Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_PREFACELIST' }));
+ expectToEqual(res[0], expectedResult[0]);
+ expectToEqual(res[1], []);
+ expectToEqual(res[2], expectedResult[2]);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- // Check for console output
- expectSpyCall(consoleSpy, 1);
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
- });
- });
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
- describe('#getRowTablesData()', () => {
- it('... should have a method `getRowTablesData`', () => {
- expect(editionDataService.getEditionRowTablesData).toBeDefined();
- });
+ // Resolve request with mocked error
+ call[0].flush(expectedResult[0]);
+ call[1].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_EDITIONSVGSHEETLIST' })
+ );
+ call[2].flush(expectedResult[2]);
- describe('request', () => {
- it('... should set assetPath', waitForAsync(() => {
- // Call service function
- editionDataService.getEditionRowTablesData().subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
+ // Check for console output
+ expectSpyCall(consoleSpy, 1);
- expectToBe((editionDataService as any)._assetPath, expectedAssetPathBaseRoute);
- }));
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
- it('... should call #_getRowTablesData', waitForAsync(() => {
- // Set spy on private method
- const getRowTablesDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getRowTablesData'
- ).and.callThrough();
+ it('... should return [[], editionSvgSheetList, textcriticsList] if folioConvoluteList request failed', waitForAsync(() => {
+ const expectedResult = [[], new EditionSvgSheetList(), new TextcriticsList()];
- // Call service function
- editionDataService.getEditionRowTablesData().subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
+ // Call service function (success)
+ editionDataService.getEditionSheetsData(expectedEditionComplex).subscribe({
+ next: (res: any) => {
+ expectToBe(res.length, expectedResult.length);
+ expectToEqual(res, expectedResult);
- expectSpyCall(getRowTablesDataSpy, 1);
- }));
+ expectToEqual(res[0], []);
+ expectToEqual(res[1], expectedResult[1]);
+ expectToEqual(res[2], expectedResult[2]);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- it('... should trigger #getJsonData with correct url', waitForAsync(() => {
- // Set spy on private method
- const getRowTablesDataSpy: Spy = spyOn(
- editionDataService as any,
- '_getRowTablesData'
- ).and.callThrough();
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
+ // Expect one request to to every file with given settings
+ const call = httpTestingController.match(
+ (req: HttpRequest) =>
+ req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
+ );
- // Call service function
- editionDataService.getEditionRowTablesData().subscribe({
- next: res => {
- expect(res).toBeTruthy();
- },
- error: () => {
- fail('should not call error');
- },
- });
+ expectToBe(call[0]?.request.url, expectedFolioConvoluteFilePath);
+ expectToBe(call[1]?.request.url, expectedSheetsFilePath);
+ expectToBe(call[2]?.request.url, expectedTextcriticsFilePath);
- expectSpyCall(getRowTablesDataSpy, 1);
- expectSpyCall(getJsonDataSpy, 1, expectedRowTablesFilePath);
- }));
+ // Resolve request with mocked error
+ call[0].flush(
+ null,
+ new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_FOLIOCONVOLUTELIST' })
+ );
+ call[1].flush(expectedResult[1]);
+ call[2].flush(expectedResult[2]);
- it('... should perform an HTTP GET request to rowTables file', waitForAsync(() => {
- // Set spy on private method
- const getJsonDataSpy: Spy = spyOn(editionDataService as any, '_getJsonData').and.callThrough();
+ // Check for console output
+ expectSpyCall(consoleSpy, 1);
- // Call service function
- editionDataService.getEditionRowTablesData().subscribe({
- next: res => {
- expectToEqual(res, new EditionRowTablesList());
- },
- error: () => {
- fail('should not call error');
- },
- });
+ // Assert that there are no more pending requests
+ httpTestingController.verify();
+ }));
+ });
+ });
+ });
- // Expect one request to every file with given settings
- regexBase = new RegExp(expectedAssetPathBaseRoute);
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ describe('#_generateAssetPath()', () => {
+ it('... should have a method `_generateAssetPath`', () => {
+ expect((editionDataService as any)._generateAssetPath).toBeDefined();
+ });
- expectSpyCall(getJsonDataSpy, 1, expectedRowTablesFilePath);
+ it('... should generate the correct path without complexIdRoute', () => {
+ const seriesRoute = '1';
+ const sectionRoute = '5';
+ const expectedPath = `${expectedAssetPathBaseRoute}/series/${seriesRoute}/section/${sectionRoute}`;
- expectToBe(call.length, 1);
- expectToBe(call[0].request.method, 'GET');
- expectToBe(call[0].request.responseType, 'json');
- expectToBe(call[0].request.url, expectedRowTablesFilePath);
+ const result = (editionDataService as any)._generateAssetPath(seriesRoute, sectionRoute);
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
+ expect(result).toBe(expectedPath);
});
- describe('success', () => {
- it('... should return an Observable(EditionRowTablesList)', waitForAsync(() => {
- const rt = expectedRowTablesData;
+ it('... should generate the correct path with complexIdRoute', () => {
+ const seriesRoute = '2';
+ const sectionRoute = '3';
+ const complexIdRoute = '/complex1';
+ const expectedPath = `${expectedAssetPathBaseRoute}/series/${seriesRoute}/section/${sectionRoute}/complex1`;
- const expectedResult = rt;
+ const result = (editionDataService as any)._generateAssetPath(seriesRoute, sectionRoute, complexIdRoute);
- // Set spy on private method
- const getRowTablesDataSpy: Spy = spyOn(editionDataService as any, '_getRowTablesData').and.returnValue(
- observableOf(expectedResult)
- );
+ expect(result).toBe(expectedPath);
+ });
+ });
- // Call service function (success)
- editionDataService.getEditionRowTablesData().subscribe({
- next: res => {
- expectToEqual(res, expectedResult);
- expectToBe(res.rowTables[0].id, 'SkRT');
- },
- error: () => {
- fail('should not call error');
- },
- });
+ describe('#_setAssetPathForEditionComplex()', () => {
+ it('... should have a method `_setAssetPathForEditionComplex`', () => {
+ expect((editionDataService as any)._setAssetPathForEditionComplex).toBeDefined();
+ });
- expectSpyCall(getRowTablesDataSpy, 1);
- }));
+ it('... should call `_generateAssetPath` with the correct parameters', () => {
+ const seriesRoute = expectedEditionComplex.pubStatement.series.route;
+ const sectionRoute = expectedEditionComplex.pubStatement.section.route;
+ const complexIdRoute = expectedEditionComplex.complexId.route;
- it('... should return an empty EditionRowTablesList Observable per default', waitForAsync(() => {
- const expectedResult = new EditionRowTablesList();
+ (editionDataService as any)._setAssetPathForEditionComplex(expectedEditionComplex);
- // Set spy on private method
- const getRowTablesDataSpy: Spy = spyOn(editionDataService as any, '_getRowTablesData').and.returnValue(
- EMPTY.pipe(defaultIfEmpty(expectedResult))
- );
+ expectSpyCall(generateAssetPathSpy, 1, [seriesRoute, sectionRoute, complexIdRoute]);
+ });
- // Call service function (success)
- editionDataService.getEditionRowTablesData().subscribe({
- next: res => {
- expectToEqual(res, expectedResult);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ it('... should return the generated assetPath', () => {
+ const seriesRoute = expectedEditionComplex.pubStatement.series.route;
+ const sectionRoute = expectedEditionComplex.pubStatement.section.route;
+ const complexIdRoute = expectedEditionComplex.complexId.route;
- expectSpyCall(getRowTablesDataSpy, 1);
- }));
+ const expectedPath = `${expectedAssetPathBaseRoute}/series/${seriesRoute}/section/${sectionRoute}${complexIdRoute}`;
+
+ const result = (editionDataService as any)._setAssetPathForEditionComplex(expectedEditionComplex);
+
+ expectToBe(result, expectedPath);
});
+ });
- describe('fail', () => {
- it('... should log an error for every failed request', waitForAsync(() => {
- const expectedResult = [];
+ describe('#_setAssetPathForSectionIntro()', () => {
+ it('... should have a method `_setAssetPathForSectionIntro`', () => {
+ expect((editionDataService as any)._setAssetPathForSectionIntro).toBeDefined();
+ });
- // Call service function (success)
- editionDataService.getEditionRowTablesData().subscribe({
- next: (res: any) => {
- expectToEqual(res, expectedResult);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ it('... should call `_generateAssetPath` with the correct parameters', () => {
+ const seriesRoute = '1';
+ const sectionRoute = '5';
- // Expect one request to to every file with given settings
- regexBase = new RegExp(expectedAssetPathBaseRoute);
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ (editionDataService as any)._setAssetPathForSectionIntro(seriesRoute, sectionRoute);
- expectToBe(call[0].request.url, expectedRowTablesFilePath);
+ expectSpyCall(generateAssetPathSpy, 1, [seriesRoute, sectionRoute]);
+ });
- // Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_ROWTABLESLIST' }));
+ it('... should return the generated assetPath', () => {
+ const seriesRoute = '1';
+ const sectionRoute = '5';
+ const expectedPath = `${expectedAssetPathBaseRoute}/series/${seriesRoute}/section/${sectionRoute}`;
- // Check for console output
- expectSpyCall(
- consoleSpy,
- 1,
- `_getJsonData failed: Http failure response for ${call[0].request.url}: 400 ERROR_LOADING_ROWTABLESLIST`
- );
+ const result = (editionDataService as any)._setAssetPathForSectionIntro(seriesRoute, sectionRoute);
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
+ expectToBe(result, expectedPath);
+ });
+ });
- it('... should return [] if request failed', waitForAsync(() => {
- const expectedResult = [];
+ describe('#_getJsonData()', () => {
+ it('... should have a method `_getJsonData`', () => {
+ expect((editionDataService as any)._getJsonData).toBeDefined();
+ });
- // Call service function (success)
- editionDataService.getEditionRowTablesData().subscribe({
- next: (res: any) => {
- expectToEqual(res, expectedResult);
- },
- error: () => {
- fail('should not call error');
- },
- });
+ it('... should return an Observable', waitForAsync(() => {
+ const expectedPath = 'test-url';
+ const expectedData = { test: 'data' };
- // Expect one request to to every file with given settings
- regexBase = new RegExp(expectedAssetPathBaseRoute);
- const call = httpTestingController.match(
- (req: HttpRequest) =>
- req.method === 'GET' && req.responseType === 'json' && regexBase.test(req.url)
- );
+ const result = (editionDataService as any)._getJsonData(expectedPath);
- expectToBe(call[0].request.url, expectedRowTablesFilePath);
+ result.subscribe({
+ next: (res: any) => {
+ expect(res).toBeTruthy();
+ expect(res).toEqual(expectedData);
+ },
+ error: () => {
+ fail('should not call error');
+ },
+ });
- // Resolve request with mocked error
- call[0].flush(null, new HttpErrorResponse({ status: 400, statusText: 'ERROR_LOADING_ROWTABLESLIST' }));
+ const call = httpTestingController.expectOne(expectedPath);
- // Check for console output
- expectSpyCall(consoleSpy, 1);
+ call.flush(expectedData);
- // Assert that there are no more pending requests
- httpTestingController.verify();
- }));
- });
+ httpTestingController.verify();
+ }));
});
});
diff --git a/src/app/views/edition-view/services/edition-data.service.ts b/src/app/views/edition-view/services/edition-data.service.ts
index 8dcd97507e..c494beb7d6 100644
--- a/src/app/views/edition-view/services/edition-data.service.ts
+++ b/src/app/views/edition-view/services/edition-data.service.ts
@@ -73,16 +73,16 @@ export class EditionDataService {
}
/**
- * Public method: getEditionIntroData.
+ * Public method: getEditionComplexIntroData.
*
* It provides the data from a JSON file
- * for the intro of the edition view.
+ * for the intro of an edition complex of the edition view.
*
* @param {EditionComplex} editionComplex The current edition complex.
*
* @returns {Observable} The observable with the IntroList data.
*/
- getEditionIntroData(editionComplex: EditionComplex): Observable {
+ getEditionComplexIntroData(editionComplex: EditionComplex): Observable {
this._assetPath = this._setAssetPathForEditionComplex(editionComplex);
const introData$: Observable = this._getIntroData();
@@ -94,6 +94,29 @@ export class EditionDataService {
);
}
+ /**
+ * Public method: getEditionSectionIntroData.
+ *
+ * It provides the data from a JSON file
+ * for the intro of an edition section of the edition view.
+ *
+ * @param {string} seriesRoute The current series route.
+ * @param {string} sectionRoute The current section route.
+ *
+ * @returns {Observable} The observable with the IntroList data.
+ */
+ getEditionSectionIntroData(seriesRoute: string, sectionRoute: string): Observable {
+ this._assetPath = this._setAssetPathForSectionIntro(seriesRoute, sectionRoute);
+ const introData$: Observable = this._getIntroData();
+
+ return introData$.pipe(
+ // Default empty value
+ defaultIfEmpty(new IntroList()),
+ // Take only first request (JSON fetch)
+ take(1)
+ );
+ }
+
/**
* Public method: getEditionPrefaceData.
*
@@ -206,25 +229,63 @@ export class EditionDataService {
}
/**
- * Private method: _setAssetPathForEditionComplex.
+ * Private method: _generateAssetPath.
*
- * It sets the path to correct assets folder of a given edition complex.
+ * It generates the path to the correct assets folder
+ * of a given edition complex or section.
*
- * @param {EditionComplex} editionComplex The current edition complex.
+ * @param {string} seriesRoute The current series route.
+ * @param {string} sectionRoute The current section route.
+ * @param {string} [complexIdRoute] The current complex id route.
*
- * @returns {string} The path to the correct assets folder of a given edition complex.
+ * @returns {string} The path to the correct assets folder of a given edition complex or section.
*/
- private _setAssetPathForEditionComplex(editionComplex: EditionComplex): string {
+ private _generateAssetPath(seriesRoute: string, sectionRoute: string, complexIdRoute?: string): string {
const delimiter = '/';
- const complexRoute =
+ let route =
delimiter +
EDITION_ROUTE_CONSTANTS.SERIES.route +
delimiter +
- editionComplex.pubStatement.series.route +
+ seriesRoute +
+ delimiter +
EDITION_ROUTE_CONSTANTS.SECTION.route +
- editionComplex.pubStatement.section.route +
- editionComplex.complexId.route;
- return EDITION_ASSETS_DATA.BASE_ROUTE + complexRoute;
+ delimiter +
+ sectionRoute;
+ if (complexIdRoute) {
+ route += complexIdRoute;
+ }
+ return EDITION_ASSETS_DATA.BASE_ROUTE + route;
+ }
+
+ /**
+ * Private method: _setAssetPathForEditionComplex.
+ *
+ * It sets the path to correct assets folder of a given edition complex.
+ *
+ * @param {EditionComplex} editionComplex The current edition complex.
+ *
+ * @returns {string} The path to the correct assets folder of a given edition complex.
+ */
+ private _setAssetPathForEditionComplex(editionComplex: EditionComplex): string {
+ return this._generateAssetPath(
+ editionComplex.pubStatement.series.route,
+ editionComplex.pubStatement.section.route,
+ editionComplex.complexId.route
+ );
+ }
+
+ /**
+ * Private method: _setAssetPathForSectionIntro.
+ *
+ * It sets the path to correct assets folder of an intro of a given edition section.
+ *
+ * @param {string} seriesRoute The current series route.
+ * @param {string} sectionRoute The current section route.
+ *
+ * @returns {string} The path to the correct assets folder of an intro of a given edition section.
+ */
+ private _setAssetPathForSectionIntro(seriesRoute: string, sectionRoute: string): string {
+ return this._generateAssetPath(seriesRoute, sectionRoute);
}
/**
diff --git a/src/app/views/edition-view/services/edition-outline.service.spec.ts b/src/app/views/edition-view/services/edition-outline.service.spec.ts
index 4f0f4999a4..e8aa50f373 100644
--- a/src/app/views/edition-view/services/edition-outline.service.spec.ts
+++ b/src/app/views/edition-view/services/edition-outline.service.spec.ts
@@ -99,33 +99,40 @@ describe('EditionOutlineService (DONE)', () => {
it('... should set the edition outline', () => {
const expectedOutline = new EditionOutline([
{
- series: '2',
+ series: '3',
sections: [
{
- section: '5',
- complexTypes: {
- opus: [
- {
- complex: '',
- disabled: true,
- },
- ],
- mnr: [{ complex: '', disabled: true }],
+ section: '4',
+ content: {
+ intro: { disabled: false },
+ complexTypes: {
+ opus: [
+ {
+ complex: '',
+ disabled: true,
+ },
+ ],
+ mnr: [{ complex: '', disabled: true }],
+ },
},
- disabled: true,
+ disabled: false,
},
{
- section: '4',
- complexTypes: {
- opus: [
- {
- complex: '',
- disabled: true,
- },
- ],
- mnr: [{ complex: '', disabled: true }],
+ section: '5',
+ content: {
+ intro: { disabled: true },
+ complexTypes: {
+ opus: [
+ {
+ complex: '',
+ disabled: true,
+ },
+ ],
+ mnr: [{ complex: '', disabled: true }],
+ },
},
- disabled: false,
+
+ disabled: true,
},
],
},
@@ -160,13 +167,21 @@ describe('EditionOutlineService (DONE)', () => {
series: EDITION_ROUTE_CONSTANTS.SERIES_2,
sections: [
{
+ seriesParent: EDITION_ROUTE_CONSTANTS.SERIES_2,
section: EDITION_ROUTE_CONSTANTS.SECTION_5,
- complexTypes: { opus: [], mnr: [] },
+ content: {
+ intro: { disabled: true },
+ complexTypes: { opus: [], mnr: [] },
+ },
disabled: true,
},
{
+ seriesParent: EDITION_ROUTE_CONSTANTS.SERIES_2,
section: EDITION_ROUTE_CONSTANTS.SECTION_4,
- complexTypes: { opus: [], mnr: [] },
+ content: {
+ intro: { disabled: false },
+ complexTypes: { opus: [], mnr: [] },
+ },
disabled: false,
},
],
@@ -191,13 +206,21 @@ describe('EditionOutlineService (DONE)', () => {
series: EDITION_ROUTE_CONSTANTS.SERIES_2,
sections: [
{
+ seriesParent: EDITION_ROUTE_CONSTANTS.SERIES_2,
section: EDITION_ROUTE_CONSTANTS.SECTION_5,
- complexTypes: { opus: [], mnr: [] },
+ content: {
+ intro: { disabled: true },
+ complexTypes: { opus: [], mnr: [] },
+ },
disabled: true,
},
{
+ seriesParent: EDITION_ROUTE_CONSTANTS.SERIES_2,
section: EDITION_ROUTE_CONSTANTS.SECTION_4,
- complexTypes: { opus: [], mnr: [] },
+ content: {
+ intro: { disabled: false },
+ complexTypes: { opus: [], mnr: [] },
+ },
disabled: false,
},
],
diff --git a/src/app/views/edition-view/services/edition.service.spec.ts b/src/app/views/edition-view/services/edition-state.service.spec.ts
similarity index 57%
rename from src/app/views/edition-view/services/edition.service.spec.ts
rename to src/app/views/edition-view/services/edition-state.service.spec.ts
index b0b3ff37d3..3f064e842c 100644
--- a/src/app/views/edition-view/services/edition.service.spec.ts
+++ b/src/app/views/edition-view/services/edition-state.service.spec.ts
@@ -8,16 +8,17 @@ import { EDITION_ROUTE_CONSTANTS } from '@awg-views/edition-view/edition-route-c
import { EditionComplex, EditionOutlineSection, EditionOutlineSeries } from '@awg-views/edition-view/models';
import { EditionComplexesService, EditionOutlineService } from '@awg-views/edition-view/services';
-import { EditionService } from './edition.service';
+import { EditionStateService } from './edition-state.service';
-describe('EditionService (DONE)', () => {
- let editionService: EditionService;
+describe('EditionStateService (DONE)', () => {
+ let editionStateService: EditionStateService;
let expectedEditionComplex: EditionComplex;
let expectedEditionOutline: EditionOutlineSeries[];
let expectedEditionSeries: EditionOutlineSeries;
let expectedEditionSeriesRoute: string;
let expectedEditionSection: EditionOutlineSection;
+ let expectedIsIntroView: boolean;
let expectedIsPrefaceView: boolean;
let expectedIsRowTableView: boolean;
@@ -28,10 +29,10 @@ describe('EditionService (DONE)', () => {
beforeEach(() => {
TestBed.configureTestingModule({
- providers: [EditionService],
+ providers: [EditionStateService],
});
// Inject service
- editionService = TestBed.inject(EditionService);
+ editionStateService = TestBed.inject(EditionStateService);
// Test data (default)
expectedEditionComplex = EditionComplexesService.getEditionComplexById('OP12');
@@ -39,6 +40,7 @@ describe('EditionService (DONE)', () => {
expectedEditionSeriesRoute = EDITION_ROUTE_CONSTANTS.EDITION.route + EDITION_ROUTE_CONSTANTS.SERIES.route;
expectedEditionSeries = expectedEditionOutline[0];
expectedEditionSection = expectedEditionOutline[0].sections[0];
+ expectedIsIntroView = true;
expectedIsPrefaceView = true;
expectedIsRowTableView = true;
});
@@ -48,110 +50,118 @@ describe('EditionService (DONE)', () => {
});
it('... should create', () => {
- expect(editionService).toBeTruthy();
+ expect(editionStateService).toBeTruthy();
});
it('... should have bufferSize = 1', () => {
- expectToBe((editionService as any)._bufferSize, 1);
+ expectToBe((editionStateService as any)._bufferSize, 1);
+ });
+
+ it('... should have _isIntroViewSubject', () => {
+ expect((editionStateService as any)._isIntroViewSubject).toBeTruthy();
+ });
+
+ it('... should have _isIntroViewStream$', () => {
+ expect((editionStateService as any)._isIntroViewStream$).toBeTruthy();
});
it('... should have _isPrefaceViewSubject', () => {
- expect((editionService as any)._isPrefaceViewSubject).toBeTruthy();
+ expect((editionStateService as any)._isPrefaceViewSubject).toBeTruthy();
});
it('... should have _isPrefaceViewStream$', () => {
- expect((editionService as any)._isPrefaceViewStream$).toBeTruthy();
+ expect((editionStateService as any)._isPrefaceViewStream$).toBeTruthy();
});
it('... should have _isRowTableViewSubject', () => {
- expect((editionService as any)._isRowTableViewSubject).toBeTruthy();
+ expect((editionStateService as any)._isRowTableViewSubject).toBeTruthy();
});
it('... should have _isRowTableViewStream$', () => {
- expect((editionService as any)._isRowTableViewStream$).toBeTruthy();
+ expect((editionStateService as any)._isRowTableViewStream$).toBeTruthy();
});
it('... should have _selectedEditionComplexSubject', () => {
- expect((editionService as any)._selectedEditionComplexSubject).toBeTruthy();
+ expect((editionStateService as any)._selectedEditionComplexSubject).toBeTruthy();
});
it('... should have _selectedEditionComplexStream$', () => {
- expect((editionService as any)._selectedEditionComplexStream$).toBeTruthy();
+ expect((editionStateService as any)._selectedEditionComplexStream$).toBeTruthy();
});
it('... should have _selectedEditionSeriesSubject', () => {
- expect((editionService as any)._selectedEditionSeriesSubject).toBeTruthy();
+ expect((editionStateService as any)._selectedEditionSeriesSubject).toBeTruthy();
});
it('... should have _selectedEditionSeriesStream$', () => {
- expect((editionService as any)._selectedEditionSeriesStream$).toBeTruthy();
+ expect((editionStateService as any)._selectedEditionSeriesStream$).toBeTruthy();
});
it('... should have _selectedEditionSectionSubject', () => {
- expect((editionService as any)._selectedEditionSectionSubject).toBeTruthy();
+ expect((editionStateService as any)._selectedEditionSectionSubject).toBeTruthy();
});
describe('EditionComplex', () => {
describe('#getSelectedEditionComplex()', () => {
it('... should have a method `getSelectedEditionComplex`', () => {
- expect(editionService.getSelectedEditionComplex).toBeDefined();
+ expect(editionStateService.getSelectedEditionComplex).toBeDefined();
});
it('... should return given editionComplex', waitForAsync(() => {
- editionService.getSelectedEditionComplex().subscribe({
+ editionStateService.getSelectedEditionComplex().subscribe({
next: (editionComplex: EditionComplex) => {
expectToEqual(editionComplex, expectedEditionComplex);
},
});
// Set editionComplex (with default value)
- editionService.updateSelectedEditionComplex(expectedEditionComplex);
+ editionStateService.updateSelectedEditionComplex(expectedEditionComplex);
}));
it('... should return updated editionComplex', waitForAsync(() => {
- editionService.getSelectedEditionComplex().subscribe({
+ editionStateService.getSelectedEditionComplex().subscribe({
next: (editionComplex: EditionComplex) => {
expectToEqual(editionComplex, expectedEditionComplex);
},
});
// Set editionComplex (with default value)
- editionService.updateSelectedEditionComplex(expectedEditionComplex);
+ editionStateService.updateSelectedEditionComplex(expectedEditionComplex);
// Update editionComplex
expectedEditionComplex = EditionComplexesService.getEditionComplexById('OP25');
- editionService.updateSelectedEditionComplex(expectedEditionComplex);
+ editionStateService.updateSelectedEditionComplex(expectedEditionComplex);
}));
});
describe('#updateSelectedEditionComplex()', () => {
it('... should have a method `updateSelectedEditionComplex`', () => {
- expect(editionService.updateSelectedEditionComplex).toBeDefined();
+ expect(editionStateService.updateSelectedEditionComplex).toBeDefined();
});
it('... should emit updated editionComplex', waitForAsync(() => {
- editionService.getSelectedEditionComplex().subscribe({
+ editionStateService.getSelectedEditionComplex().subscribe({
next: (editionComplex: EditionComplex) => {
expectToEqual(editionComplex, expectedEditionComplex);
},
});
// Set editionComplex
- editionService.updateSelectedEditionComplex(expectedEditionComplex);
+ editionStateService.updateSelectedEditionComplex(expectedEditionComplex);
// Update editionComplex
expectedEditionComplex = EditionComplexesService.getEditionComplexById('OP25');
- editionService.updateSelectedEditionComplex(expectedEditionComplex);
+ editionStateService.updateSelectedEditionComplex(expectedEditionComplex);
}));
});
describe('#clearSelectedEditionComplex()', () => {
it('... should have a method `clearSelectedEditionComplex`', () => {
- expect(editionService.clearSelectedEditionComplex).toBeDefined();
+ expect(editionStateService.clearSelectedEditionComplex).toBeDefined();
});
it('... should update edition complex with null value', waitForAsync(() => {
- editionService.getSelectedEditionComplex().subscribe({
+ editionStateService.getSelectedEditionComplex().subscribe({
next: (editionComplex: EditionComplex) => {
expectToEqual(editionComplex, expectedEditionComplex);
},
@@ -159,22 +169,22 @@ describe('EditionService (DONE)', () => {
// Clear editionComplex
expectedEditionComplex = null;
- editionService.clearSelectedEditionComplex();
+ editionStateService.clearSelectedEditionComplex();
}));
it('... should overwrite existing values', waitForAsync(() => {
- editionService.getSelectedEditionComplex().subscribe({
+ editionStateService.getSelectedEditionComplex().subscribe({
next: (editionComplex: EditionComplex) => {
expectToEqual(editionComplex, expectedEditionComplex);
},
});
// Update editionComplex
- editionService.updateSelectedEditionComplex(expectedEditionComplex);
+ editionStateService.updateSelectedEditionComplex(expectedEditionComplex);
// Clear editionComplex
expectedEditionComplex = null;
- editionService.clearSelectedEditionComplex();
+ editionStateService.clearSelectedEditionComplex();
}));
});
});
@@ -182,64 +192,64 @@ describe('EditionService (DONE)', () => {
describe('EditionSeries', () => {
describe('#getSelectedEditionSeries()', () => {
it('... should have a method `getSelectedEditionSeries`', () => {
- expect(editionService.getSelectedEditionSeries).toBeDefined();
+ expect(editionStateService.getSelectedEditionSeries).toBeDefined();
});
it('... should return selected editionSeries', waitForAsync(() => {
- editionService.getSelectedEditionSeries().subscribe({
+ editionStateService.getSelectedEditionSeries().subscribe({
next: (editionSeries: EditionOutlineSeries) => {
expectToEqual(editionSeries, expectedEditionSeries);
},
});
// Set editionSeries (with default value)
- editionService.updateSelectedEditionSeries(expectedEditionSeries);
+ editionStateService.updateSelectedEditionSeries(expectedEditionSeries);
}));
it('... should return updated editionSeries', waitForAsync(() => {
- editionService.getSelectedEditionSeries().subscribe({
+ editionStateService.getSelectedEditionSeries().subscribe({
next: (editionSeries: EditionOutlineSeries) => {
expectToEqual(editionSeries, expectedEditionSeries);
},
});
// Set editionSeries (with default value)
- editionService.updateSelectedEditionSeries(expectedEditionSeries);
+ editionStateService.updateSelectedEditionSeries(expectedEditionSeries);
// Update editionSeries
expectedEditionSeries = expectedEditionOutline[1];
- editionService.updateSelectedEditionSeries(expectedEditionSeries);
+ editionStateService.updateSelectedEditionSeries(expectedEditionSeries);
}));
});
describe('#updateSelectedEditionSeries()', () => {
it('... should have a method `updateSelectedEditionSeries`', () => {
- expect(editionService.updateSelectedEditionSeries).toBeDefined();
+ expect(editionStateService.updateSelectedEditionSeries).toBeDefined();
});
it('... should emit updated editionSeries', waitForAsync(() => {
- editionService.getSelectedEditionSeries().subscribe({
+ editionStateService.getSelectedEditionSeries().subscribe({
next: (editionSeries: EditionOutlineSeries) => {
expectToEqual(editionSeries, expectedEditionSeries);
},
});
// Set editionSeries (with default value)
- editionService.updateSelectedEditionSeries(expectedEditionSeries);
+ editionStateService.updateSelectedEditionSeries(expectedEditionSeries);
// Update editionSeries
expectedEditionSeries = expectedEditionOutline[1];
- editionService.updateSelectedEditionSeries(expectedEditionSeries);
+ editionStateService.updateSelectedEditionSeries(expectedEditionSeries);
}));
});
describe('#clearSelectedEditionSeries()', () => {
it('... should have a method `clearSelectedEditionSeries`', () => {
- expect(editionService.clearSelectedEditionSeries).toBeDefined();
+ expect(editionStateService.clearSelectedEditionSeries).toBeDefined();
});
it('... should update editionSeries with null value', waitForAsync(() => {
- editionService.getSelectedEditionSeries().subscribe({
+ editionStateService.getSelectedEditionSeries().subscribe({
next: (editionSeries: EditionOutlineSeries) => {
expectToEqual(editionSeries, expectedEditionSeries);
},
@@ -247,22 +257,22 @@ describe('EditionService (DONE)', () => {
// Clear editionSeries
expectedEditionSeries = null;
- editionService.clearSelectedEditionSeries();
+ editionStateService.clearSelectedEditionSeries();
}));
it('... should overwrite existing values', waitForAsync(() => {
- editionService.getSelectedEditionSeries().subscribe({
+ editionStateService.getSelectedEditionSeries().subscribe({
next: (editionSeries: EditionOutlineSeries) => {
expectToEqual(editionSeries, expectedEditionSeries);
},
});
// Update editionSeries
- editionService.updateSelectedEditionSeries(expectedEditionSeries);
+ editionStateService.updateSelectedEditionSeries(expectedEditionSeries);
// Clear editionSeries
expectedEditionSeries = null;
- editionService.clearSelectedEditionSeries();
+ editionStateService.clearSelectedEditionSeries();
}));
});
});
@@ -270,64 +280,64 @@ describe('EditionService (DONE)', () => {
describe('EditionSection', () => {
describe('#getSelectedEditionSection()', () => {
it('... should have a method `getSelectedEditionSection`', () => {
- expect(editionService.getSelectedEditionSection).toBeDefined();
+ expect(editionStateService.getSelectedEditionSection).toBeDefined();
});
it('... should return selected editionSection', waitForAsync(() => {
- editionService.getSelectedEditionSection().subscribe({
+ editionStateService.getSelectedEditionSection().subscribe({
next: (editionSection: EditionOutlineSection) => {
expectToEqual(editionSection, expectedEditionSection);
},
});
// Set editionSection (with default value)
- editionService.updateSelectedEditionSection(expectedEditionSection);
+ editionStateService.updateSelectedEditionSection(expectedEditionSection);
}));
it('... should return updated editionSection', waitForAsync(() => {
- editionService.getSelectedEditionSection().subscribe({
+ editionStateService.getSelectedEditionSection().subscribe({
next: (editionSection: EditionOutlineSection) => {
expectToEqual(editionSection, expectedEditionSection);
},
});
// Set editionSection (with default value)
- editionService.updateSelectedEditionSection(expectedEditionSection);
+ editionStateService.updateSelectedEditionSection(expectedEditionSection);
// Update editionSection
expectedEditionSection = expectedEditionOutline[0].sections[4];
- editionService.updateSelectedEditionSection(expectedEditionSection);
+ editionStateService.updateSelectedEditionSection(expectedEditionSection);
}));
});
describe('#updateSelectedEditionSection()', () => {
it('... should have a method `updateSelectedEditionSection`', () => {
- expect(editionService.updateSelectedEditionSection).toBeDefined();
+ expect(editionStateService.updateSelectedEditionSection).toBeDefined();
});
it('... should emit updated editionSection', waitForAsync(() => {
- editionService.getSelectedEditionSection().subscribe({
+ editionStateService.getSelectedEditionSection().subscribe({
next: (editionSection: EditionOutlineSection) => {
expectToEqual(editionSection, expectedEditionSection);
},
});
// Set editionSection (with default value)
- editionService.updateSelectedEditionSection(expectedEditionSection);
+ editionStateService.updateSelectedEditionSection(expectedEditionSection);
// Update editionSection
expectedEditionSection = expectedEditionOutline[0].sections[4];
- editionService.updateSelectedEditionSection(expectedEditionSection);
+ editionStateService.updateSelectedEditionSection(expectedEditionSection);
}));
});
describe('#clearSelectedEditionSection()', () => {
it('... should have a method `clearSelectedEditionSection`', () => {
- expect(editionService.clearSelectedEditionSection).toBeDefined();
+ expect(editionStateService.clearSelectedEditionSection).toBeDefined();
});
it('... should update editionSection with null value', waitForAsync(() => {
- editionService.getSelectedEditionSection().subscribe({
+ editionStateService.getSelectedEditionSection().subscribe({
next: (editionSection: EditionOutlineSection) => {
expectToEqual(editionSection, expectedEditionSection);
},
@@ -335,22 +345,110 @@ describe('EditionService (DONE)', () => {
// Clear editionSection
expectedEditionSection = null;
- editionService.clearSelectedEditionSection();
+ editionStateService.clearSelectedEditionSection();
}));
it('... should overwrite existing values', waitForAsync(() => {
- editionService.getSelectedEditionSection().subscribe({
+ editionStateService.getSelectedEditionSection().subscribe({
next: (editionSection: EditionOutlineSection) => {
expectToEqual(editionSection, expectedEditionSection);
},
});
// Update editionSection
- editionService.updateSelectedEditionSection(expectedEditionSection);
+ editionStateService.updateSelectedEditionSection(expectedEditionSection);
// Clear editionSection
expectedEditionSection = null;
- editionService.clearSelectedEditionSection();
+ editionStateService.clearSelectedEditionSection();
+ }));
+ });
+ });
+
+ describe('IntroView', () => {
+ describe('#getIsIntroView()', () => {
+ it('... should have a method `getIsIntroView`', () => {
+ expect(editionStateService.getIsIntroView).toBeDefined();
+ });
+
+ it('... should return isIntroView', waitForAsync(() => {
+ editionStateService.getIsIntroView().subscribe({
+ next: (isIntroView: boolean) => {
+ expectToBe(isIntroView, expectedIsIntroView);
+ },
+ });
+
+ // Set isIntroView (with default value)
+ editionStateService.updateIsIntroView(expectedIsIntroView);
+ }));
+
+ it('... should return updated isIntroView', waitForAsync(() => {
+ editionStateService.getIsIntroView().subscribe({
+ next: (isIntroView: boolean) => {
+ expectToBe(isIntroView, expectedIsIntroView);
+ },
+ });
+
+ // Set isIntroView (with default value)
+ editionStateService.updateIsIntroView(expectedIsIntroView);
+
+ // Update isIntroView
+ expectedIsIntroView = false;
+ editionStateService.updateIsIntroView(expectedIsIntroView);
+ }));
+ });
+
+ describe('#updateIsIntroView()', () => {
+ it('... should have a method `updateIsIntroView`', () => {
+ expect(editionStateService.updateIsIntroView).toBeDefined();
+ });
+
+ it('... should emit updated isIntroView', waitForAsync(() => {
+ editionStateService.getIsIntroView().subscribe({
+ next: (isIntroView: boolean) => {
+ expectToBe(isIntroView, expectedIsIntroView);
+ },
+ });
+
+ // Set isIntroView (with default value)
+ editionStateService.updateIsIntroView(expectedIsIntroView);
+
+ // Update isIntroView
+ expectedIsIntroView = false;
+ editionStateService.updateIsIntroView(expectedIsIntroView);
+ }));
+ });
+
+ describe('#clearIsIntroView()', () => {
+ it('... should have a method `clearIsIntroView`', () => {
+ expect(editionStateService.clearIsIntroView).toBeDefined();
+ });
+
+ it('... should update isIntroView with null value', waitForAsync(() => {
+ editionStateService.getIsIntroView().subscribe({
+ next: (isIntroView: boolean) => {
+ expectToBe(isIntroView, expectedIsIntroView);
+ },
+ });
+
+ // Clear isIntroView
+ expectedIsIntroView = null;
+ editionStateService.clearIsIntroView();
+ }));
+
+ it('... should overwrite existing values', waitForAsync(() => {
+ editionStateService.getIsIntroView().subscribe({
+ next: (isIntroView: boolean) => {
+ expectToBe(isIntroView, expectedIsIntroView);
+ },
+ });
+
+ // Update isIntroView
+ editionStateService.updateIsIntroView(expectedIsIntroView);
+
+ // Clear isIntroView
+ expectedIsIntroView = null;
+ editionStateService.clearIsIntroView();
}));
});
});
@@ -358,64 +456,64 @@ describe('EditionService (DONE)', () => {
describe('PrefaceView', () => {
describe('#getIsPrefaceView()', () => {
it('... should have a method `getIsPrefaceView`', () => {
- expect(editionService.getIsPrefaceView).toBeDefined();
+ expect(editionStateService.getIsPrefaceView).toBeDefined();
});
it('... should return isPrefaceView', waitForAsync(() => {
- editionService.getIsPrefaceView().subscribe({
- next: (isRowTableView: boolean) => {
- expectToBe(isRowTableView, expectedIsPrefaceView);
+ editionStateService.getIsPrefaceView().subscribe({
+ next: (isPrefaceView: boolean) => {
+ expectToBe(isPrefaceView, expectedIsPrefaceView);
},
});
// Set isPrefaceView (with default value)
- editionService.updateIsPrefaceView(expectedIsPrefaceView);
+ editionStateService.updateIsPrefaceView(expectedIsPrefaceView);
}));
it('... should return updated isPrefaceView', waitForAsync(() => {
- editionService.getIsPrefaceView().subscribe({
+ editionStateService.getIsPrefaceView().subscribe({
next: (isPrefaceView: boolean) => {
expectToBe(isPrefaceView, expectedIsPrefaceView);
},
});
// Set isPrefaceView (with default value)
- editionService.updateIsPrefaceView(expectedIsPrefaceView);
+ editionStateService.updateIsPrefaceView(expectedIsPrefaceView);
// Update isPrefaceView
expectedIsPrefaceView = false;
- editionService.updateIsPrefaceView(expectedIsPrefaceView);
+ editionStateService.updateIsPrefaceView(expectedIsPrefaceView);
}));
});
describe('#updateIsPrefaceView()', () => {
it('... should have a method `updateIsPrefaceView`', () => {
- expect(editionService.updateIsPrefaceView).toBeDefined();
+ expect(editionStateService.updateIsPrefaceView).toBeDefined();
});
it('... should emit updated isPrefaceView', waitForAsync(() => {
- editionService.getIsPrefaceView().subscribe({
+ editionStateService.getIsPrefaceView().subscribe({
next: (isPrefaceView: boolean) => {
expectToBe(isPrefaceView, expectedIsPrefaceView);
},
});
// Set isPrefaceView (with default value)
- editionService.updateIsPrefaceView(expectedIsPrefaceView);
+ editionStateService.updateIsPrefaceView(expectedIsPrefaceView);
// Update isPrefaceView
expectedIsPrefaceView = false;
- editionService.updateIsPrefaceView(expectedIsPrefaceView);
+ editionStateService.updateIsPrefaceView(expectedIsPrefaceView);
}));
});
describe('#clearIsPrefaceView()', () => {
it('... should have a method `clearIsPrefaceView`', () => {
- expect(editionService.clearIsPrefaceView).toBeDefined();
+ expect(editionStateService.clearIsPrefaceView).toBeDefined();
});
it('... should update isPrefaceView with null value', waitForAsync(() => {
- editionService.getIsPrefaceView().subscribe({
+ editionStateService.getIsPrefaceView().subscribe({
next: (isPrefaceView: boolean) => {
expectToBe(isPrefaceView, expectedIsPrefaceView);
},
@@ -423,22 +521,22 @@ describe('EditionService (DONE)', () => {
// Clear isPrefaceView
expectedIsPrefaceView = null;
- editionService.clearIsPrefaceView();
+ editionStateService.clearIsPrefaceView();
}));
it('... should overwrite existing values', waitForAsync(() => {
- editionService.getIsPrefaceView().subscribe({
+ editionStateService.getIsPrefaceView().subscribe({
next: (isPrefaceView: boolean) => {
expectToBe(isPrefaceView, expectedIsPrefaceView);
},
});
// Update isPrefaceView
- editionService.updateIsPrefaceView(expectedIsPrefaceView);
+ editionStateService.updateIsPrefaceView(expectedIsPrefaceView);
// Clear isPrefaceView
expectedIsPrefaceView = null;
- editionService.clearIsPrefaceView();
+ editionStateService.clearIsPrefaceView();
}));
});
});
@@ -446,64 +544,64 @@ describe('EditionService (DONE)', () => {
describe('RowTableView', () => {
describe('#getIsRowTableView()', () => {
it('... should have a method `getIsRowTableView`', () => {
- expect(editionService.getIsRowTableView).toBeDefined();
+ expect(editionStateService.getIsRowTableView).toBeDefined();
});
it('... should return isRowTableView', waitForAsync(() => {
- editionService.getIsRowTableView().subscribe({
+ editionStateService.getIsRowTableView().subscribe({
next: (isRowTableView: boolean) => {
expectToBe(isRowTableView, expectedIsRowTableView);
},
});
// Set isRowTableView (with default value)
- editionService.updateIsRowTableView(expectedIsRowTableView);
+ editionStateService.updateIsRowTableView(expectedIsRowTableView);
}));
it('... should return updated isRowTableView', waitForAsync(() => {
- editionService.getIsRowTableView().subscribe({
+ editionStateService.getIsRowTableView().subscribe({
next: (isRowTableView: boolean) => {
expectToBe(isRowTableView, expectedIsRowTableView);
},
});
// Set isRowTableView (with default value)
- editionService.updateIsRowTableView(expectedIsRowTableView);
+ editionStateService.updateIsRowTableView(expectedIsRowTableView);
// Update isRowTableView
expectedIsRowTableView = false;
- editionService.updateIsRowTableView(expectedIsRowTableView);
+ editionStateService.updateIsRowTableView(expectedIsRowTableView);
}));
});
describe('#updateIsRowTableView()', () => {
it('... should have a method `updateIsRowTableView`', () => {
- expect(editionService.updateIsRowTableView).toBeDefined();
+ expect(editionStateService.updateIsRowTableView).toBeDefined();
});
it('... should emit updated isRowTableView', waitForAsync(() => {
- editionService.getIsRowTableView().subscribe({
+ editionStateService.getIsRowTableView().subscribe({
next: (isRowTableView: boolean) => {
expectToBe(isRowTableView, expectedIsRowTableView);
},
});
// Set isRowTableView (with default value)
- editionService.updateIsRowTableView(expectedIsRowTableView);
+ editionStateService.updateIsRowTableView(expectedIsRowTableView);
// Update isRowTableView
expectedIsRowTableView = false;
- editionService.updateIsRowTableView(expectedIsRowTableView);
+ editionStateService.updateIsRowTableView(expectedIsRowTableView);
}));
});
describe('#clearIsRowTableView()', () => {
it('... should have a method `clearIsRowTableView`', () => {
- expect(editionService.clearIsRowTableView).toBeDefined();
+ expect(editionStateService.clearIsRowTableView).toBeDefined();
});
it('... should update isRowTableView with null value', waitForAsync(() => {
- editionService.getIsRowTableView().subscribe({
+ editionStateService.getIsRowTableView().subscribe({
next: (isRowTableView: boolean) => {
expectToBe(isRowTableView, expectedIsRowTableView);
},
@@ -511,22 +609,22 @@ describe('EditionService (DONE)', () => {
// Clear isRowTableView
expectedIsRowTableView = null;
- editionService.clearIsRowTableView();
+ editionStateService.clearIsRowTableView();
}));
it('... should overwrite existing values', waitForAsync(() => {
- editionService.getIsRowTableView().subscribe({
+ editionStateService.getIsRowTableView().subscribe({
next: (isRowTableView: boolean) => {
expectToBe(isRowTableView, expectedIsRowTableView);
},
});
// Update isRowTableView
- editionService.updateIsRowTableView(expectedIsRowTableView);
+ editionStateService.updateIsRowTableView(expectedIsRowTableView);
// Clear isRowTableView
expectedIsRowTableView = null;
- editionService.clearIsRowTableView();
+ editionStateService.clearIsRowTableView();
}));
});
});
diff --git a/src/app/views/edition-view/services/edition.service.ts b/src/app/views/edition-view/services/edition-state.service.ts
similarity index 84%
rename from src/app/views/edition-view/services/edition.service.ts
rename to src/app/views/edition-view/services/edition-state.service.ts
index 5870d11ec2..03b9e0b50f 100644
--- a/src/app/views/edition-view/services/edition.service.ts
+++ b/src/app/views/edition-view/services/edition-state.service.ts
@@ -5,10 +5,10 @@ import { Observable, ReplaySubject } from 'rxjs';
import { EditionComplex, EditionOutlineSection, EditionOutlineSeries } from '@awg-views/edition-view/models';
/**
- * The Edition service.
+ * The EditionState service.
*
- * It handles the provision of the current edition complex and
- * other parts of the edition outline.
+ * It handles the provision of the current state
+ * of an edition complex and other parts of the edition outline.
*
* Provided in: `root`.
* @used in the {@link EditionSheetsComponent}.
@@ -16,12 +16,22 @@ import { EditionComplex, EditionOutlineSection, EditionOutlineSeries } from '@aw
@Injectable({
providedIn: 'root',
})
-export class EditionService {
+export class EditionStateService {
/**
* Private variable for the replay subject´s buffer size.
*/
private _bufferSize = 1;
+ /**
+ * Private replay subject to flag intro view.
+ */
+ private _isIntroViewSubject = new ReplaySubject(this._bufferSize);
+
+ /**
+ * Private readonly isIntroView stream as observable (`ReplaySubject`).
+ */
+ private readonly _isIntroViewStream$ = this._isIntroViewSubject.asObservable();
+
/**
* Private replay subject to flag preface view.
*/
@@ -175,6 +185,41 @@ export class EditionService {
this._selectedEditionSectionSubject.next(null);
}
+ /**
+ * Public method: getIsIntroView.
+ *
+ * It provides the latest isIntroView flag from the isIntroView stream.
+ *
+ * @returns {Observable} The isIntroView stream as observable.
+ */
+ getIsIntroView(): Observable {
+ return this._isIntroViewStream$;
+ }
+
+ /**
+ * Public method: updateIsIntroView.
+ *
+ * It updates the isIntroView stream with the given boolean value.
+ *
+ * @param {boolean} isView The given isIntroView flag.
+ *
+ * @returns {void} Sets the next isIntroView flag to the stream.
+ */
+ updateIsIntroView(isView: boolean): void {
+ this._isIntroViewSubject.next(isView);
+ }
+
+ /**
+ * Public method: clearIsIntroView.
+ *
+ * It clears the isIntroView stream.
+ *
+ * @returns {void} Clears the isIntroView stream.
+ */
+ clearIsIntroView(): void {
+ this._isIntroViewSubject.next(null);
+ }
+
/**
* Public method: getIsPrefaceView.
*
diff --git a/src/app/views/edition-view/services/index.ts b/src/app/views/edition-view/services/index.ts
index e78cc0839b..e37a9b08bb 100644
--- a/src/app/views/edition-view/services/index.ts
+++ b/src/app/views/edition-view/services/index.ts
@@ -11,14 +11,14 @@ import { EditionComplexesService } from './edition-complexes.service';
import { EditionDataService } from './edition-data.service';
import { EditionOutlineService } from './edition-outline.service';
import { EditionSheetsService } from './edition-sheets.service';
+import { EditionStateService } from './edition-state.service';
import { EditionSvgDrawingService } from './edition-svg-drawing.service';
-import { EditionService } from './edition.service';
export {
EditionComplexesService,
EditionDataService,
EditionOutlineService,
- EditionService,
EditionSheetsService,
+ EditionStateService,
EditionSvgDrawingService,
};
diff --git a/src/app/views/home-view/data/home-view-card.data.ts b/src/app/views/home-view/data/home-view-card.data.ts
new file mode 100644
index 0000000000..7395202365
--- /dev/null
+++ b/src/app/views/home-view/data/home-view-card.data.ts
@@ -0,0 +1,41 @@
+import { HomeViewCard } from '@awg-views/home-view/models';
+
+/**
+ * The HOME_VIEW_CARD_DATA constant.
+ *
+ * It contains the data for the home view cards.
+ */
+export const HOME_VIEW_CARD_DATA: HomeViewCard[] = [
+ {
+ title: 'Editionsübersicht',
+ text: 'Entdecken Sie die Online-Edition und ihre Inhalte.',
+ imgSrc: 'assets/img/home/edition_sample.jpg',
+ imgAlt: 'Edition Overview',
+ linkRouter: ['/edition', 'series'],
+ linkText: 'Zur Editionsübersicht',
+ },
+ {
+ title: 'Graph-Visualisierungen (beta)',
+ text: 'Erkunden Sie die graphische Repräsentation der Editionsdaten.',
+ imgSrc: 'assets/img/home/graph_sample.png',
+ imgAlt: 'Graph',
+ linkRouter: ['/edition', 'complex', 'op25', 'graph'],
+ linkText: 'Zu den Graph-Visualisierungen',
+ },
+ {
+ title: 'Datenbank-Suche (DSP)',
+ text: 'Finden Sie biografische und werkgeschichtliche Kontextinformationen in der DSP-Datenbank.',
+ imgSrc: 'assets/img/home/database_sample.png',
+ imgAlt: 'Search',
+ linkHref: 'https://app.dasch.swiss/project/ot7I2nU-SdeXIf17LX_h3g',
+ linkText: 'Zur Datenbank-Suche',
+ },
+ {
+ title: 'Anton Webern Gesamtausgabe',
+ text: 'Informieren Sie sich über die Anton Webern Gesamtausgabe, die Webern-Forschung und Anton Webern.',
+ imgSrc: 'assets/img/home/awg.jpg',
+ imgAlt: 'Edition Project',
+ linkHref: 'https://anton-webern.ch/',
+ linkText: 'Zur Projekt-Website',
+ },
+];
diff --git a/src/app/views/home-view/data/index.ts b/src/app/views/home-view/data/index.ts
new file mode 100644
index 0000000000..847203e17a
--- /dev/null
+++ b/src/app/views/home-view/data/index.ts
@@ -0,0 +1,11 @@
+/**
+ *
+ * HomeData
+ *
+ * This file exports data that is used
+ * for the Home view.
+ *
+ */
+import { HOME_VIEW_CARD_DATA } from './home-view-card.data';
+
+export { HOME_VIEW_CARD_DATA };
diff --git a/src/app/views/home-view/home-view-card/home-view-card.component.html b/src/app/views/home-view/home-view-card/home-view-card.component.html
new file mode 100644
index 0000000000..4bd5bf03c3
--- /dev/null
+++ b/src/app/views/home-view/home-view-card/home-view-card.component.html
@@ -0,0 +1,22 @@
+
+ ![]()
+
+ {{ cardData.title }}
+ {{ cardData.text }}
+
+
+
diff --git a/src/app/views/home-view/home-view-card/home-view-card.component.scss b/src/app/views/home-view/home-view-card/home-view-card.component.scss
new file mode 100644
index 0000000000..0664e9a687
--- /dev/null
+++ b/src/app/views/home-view/home-view-card/home-view-card.component.scss
@@ -0,0 +1,5 @@
+.card-img-top {
+ height: 200px;
+ object-fit: cover;
+ border-bottom: 1px solid var(--bs-card-border-color);
+}
diff --git a/src/app/views/home-view/home-view-card/home-view-card.component.spec.ts b/src/app/views/home-view/home-view-card/home-view-card.component.spec.ts
new file mode 100644
index 0000000000..30d0029f34
--- /dev/null
+++ b/src/app/views/home-view/home-view-card/home-view-card.component.spec.ts
@@ -0,0 +1,284 @@
+import { DebugElement } from '@angular/core';
+import { ComponentFixture, TestBed } from '@angular/core/testing';
+
+import { FontAwesomeTestingModule } from '@fortawesome/angular-fontawesome/testing';
+import { faArrowRight, IconDefinition } from '@fortawesome/free-solid-svg-icons';
+
+import { cleanStylesFromDOM } from '@testing/clean-up-helper';
+import {
+ expectToBe,
+ expectToContain,
+ expectToEqual,
+ getAndExpectDebugElementByCss,
+ getAndExpectDebugElementByDirective,
+} from '@testing/expect-helper';
+import { RouterLinkStubDirective } from '@testing/router-stubs';
+
+import { HomeViewCard } from '@awg-views/home-view/models';
+
+import { click } from '@testing/click-helper';
+import { detectChangesOnPush } from '@testing/detect-changes-on-push-helper';
+import { HomeViewCardComponent } from './home-view-card.component';
+
+describe('HomeViewCardComponent (DONE)', () => {
+ let component: HomeViewCardComponent;
+ let fixture: ComponentFixture;
+ let compDe: DebugElement;
+
+ let linkDes: DebugElement[];
+ let routerLinks;
+
+ let expectedCardData: HomeViewCard;
+ let expectedFaArrowRight: IconDefinition;
+
+ beforeEach(async () => {
+ await TestBed.configureTestingModule({
+ imports: [FontAwesomeTestingModule],
+ declarations: [HomeViewCardComponent, RouterLinkStubDirective],
+ }).compileComponents();
+
+ fixture = TestBed.createComponent(HomeViewCardComponent);
+ component = fixture.componentInstance;
+ compDe = fixture.debugElement;
+
+ // Test data
+ expectedCardData = {
+ title: 'Test Title',
+ text: 'Test Text',
+ imgSrc: 'assets/img/home/edition_sample.jpg',
+ imgAlt: 'Test Alt',
+ linkRouter: ['/test', 'route'],
+ linkText: 'Test Link',
+ };
+ expectedFaArrowRight = faArrowRight;
+ });
+
+ afterAll(() => {
+ cleanStylesFromDOM();
+ });
+
+ it('should create', () => {
+ expect(component).toBeTruthy();
+ });
+
+ describe('BEFORE initial data binding', () => {
+ it('... should not have cardData', () => {
+ expect(component.cardData).toBeUndefined();
+ });
+
+ it('... should have faArrowRight', () => {
+ expectToEqual(component.faArrowRight, expectedFaArrowRight);
+ });
+
+ describe('VIEW', () => {
+ it('... should contain one shadowed, centered `div.awg-home-view-card`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const divEl = divDes[0].nativeElement;
+
+ expectToContain(divEl.classList, 'shadow');
+ expectToContain(divEl.classList, 'text-center');
+ });
+
+ it('... should contain one empty `img` in `div.awg-home-view-card`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+
+ const imgDes = getAndExpectDebugElementByCss(divDes[0], 'img', 1, 1);
+ const imgEl = imgDes[0].nativeElement;
+
+ expectToBe(imgEl.src, '');
+ expectToBe(imgEl.alt, '');
+ });
+
+ it('... should contain one `div.card-body` in `div.awg-home-view-card`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+
+ getAndExpectDebugElementByCss(divDes[0], 'div.card-body', 1, 1);
+ });
+
+ it('... should contain one empty h5 title in `div.card-body`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const bodyDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-body', 1, 1);
+
+ const titleDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5.card-title', 1, 1);
+ const titleEl = titleDes[0].nativeElement;
+
+ expectToBe(titleEl.textContent, '');
+ });
+
+ it('... should contain one empty paragraph text in `div.card-body`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const bodyDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-body', 1, 1);
+
+ const textDes = getAndExpectDebugElementByCss(bodyDes[0], 'p.card-text', 1, 1);
+ const textEl = textDes[0].nativeElement;
+
+ expectToBe(textEl.textContent, '');
+ });
+
+ it('... should contain one empty `div.card-footer` in `div.awg-home-view-card`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+
+ const footerDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-footer', 1, 1);
+ const footerEl = footerDes[0].nativeElement;
+
+ expectToBe(footerEl.textContent, '');
+ });
+ });
+ });
+
+ describe('AFTER initial data binding', () => {
+ beforeEach(() => {
+ // Simulate the parent setting the input properties
+ component.cardData = expectedCardData;
+
+ // Trigger initial data binding
+ fixture.detectChanges();
+ });
+
+ it('should have `cardData` input', () => {
+ expectToEqual(component.cardData, expectedCardData);
+ });
+
+ describe('VIEW', () => {
+ it('... should display `img` in `div.awg-home-view-card`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+
+ const imgDes = getAndExpectDebugElementByCss(divDes[0], 'img', 1, 1);
+ const imgEl = imgDes[0].nativeElement;
+
+ expectToContain(imgEl.src, expectedCardData.imgSrc);
+ expectToBe(imgEl.alt, expectedCardData.imgAlt);
+ });
+
+ it('... should display h5 title in `div.card-body`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const bodyDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-body', 1, 1);
+
+ const titleDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5.card-title', 1, 1);
+ const titleEl = titleDes[0].nativeElement;
+
+ expectToBe(titleEl.textContent, expectedCardData.title);
+ });
+
+ it('... should display paragraph text in `div.card-body`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const bodyDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-body', 1, 1);
+
+ const textDes = getAndExpectDebugElementByCss(bodyDes[0], 'p.card-text', 1, 1);
+ const textEl = textDes[0].nativeElement;
+
+ expectToBe(textEl.textContent, expectedCardData.text);
+ });
+
+ describe('... with routerLink', () => {
+ it('... should have one info link button without href in `div.card-footer`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const footerDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-footer', 1, 1);
+
+ const aDes = getAndExpectDebugElementByCss(footerDes[0], 'a.btn', 1, 1);
+ const aEl = aDes[0].nativeElement;
+
+ expectToBe(aEl.href, '');
+
+ expectToContain(aEl.classList, 'btn');
+ expectToContain(aEl.classList, 'btn-info');
+ expectToContain(aEl.classList, 'text-light');
+ });
+
+ it('... should display arrow icon on the info link button', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const footerDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-footer', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(footerDes[0], 'a.btn', 1, 1);
+
+ const faIconDes = getAndExpectDebugElementByCss(aDes[0], 'fa-icon', 1, 1);
+ const faIconIns = faIconDes[0].componentInstance.icon;
+
+ expectToEqual(faIconIns, faArrowRight);
+ });
+
+ it('... should display link text on the info link button', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const footerDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-footer', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(footerDes[0], 'a.btn', 1, 1);
+ const aEl = aDes[0].nativeElement;
+
+ expectToBe(aEl.textContent.trim(), expectedCardData.linkText);
+ });
+ });
+
+ describe('... with href', () => {
+ beforeEach(() => {
+ component.cardData.linkRouter = undefined;
+ component.cardData.linkHref = 'https://www.anton-webern.ch/';
+
+ detectChangesOnPush(fixture);
+ });
+
+ it('... should have one info link button with href in `div.card-footer`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const footerDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-footer', 1, 1);
+
+ const aDes = getAndExpectDebugElementByCss(footerDes[0], 'a.btn', 1, 1);
+ const aEl = aDes[0].nativeElement;
+
+ expectToBe(aEl.href, expectedCardData.linkHref);
+
+ expectToContain(aEl.classList, 'btn');
+ expectToContain(aEl.classList, 'btn-info');
+ expectToContain(aEl.classList, 'text-light');
+ });
+
+ it('... should display arrow icon on the info link button', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const footerDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-footer', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(footerDes[0], 'a.btn', 1, 1);
+
+ const faIconDes = getAndExpectDebugElementByCss(aDes[0], 'fa-icon', 1, 1);
+ const faIconIns = faIconDes[0].componentInstance.icon;
+
+ expectToEqual(faIconIns, faArrowRight);
+ });
+
+ it('... should display link text on the info link button', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-card', 1, 1);
+ const footerDes = getAndExpectDebugElementByCss(divDes[0], 'div.card-footer', 1, 1);
+ const aDes = getAndExpectDebugElementByCss(footerDes[0], 'a.btn', 1, 1);
+ const aEl = aDes[0].nativeElement;
+
+ expectToBe(aEl.textContent.trim(), expectedCardData.linkText);
+ });
+ });
+ });
+
+ describe('[routerLink]', () => {
+ beforeEach(() => {
+ // Find DebugElements with an attached RouterLinkStubDirective
+ linkDes = getAndExpectDebugElementByDirective(compDe, RouterLinkStubDirective, 1, 1);
+
+ // Get attached link directive instances using each DebugElement's injector
+ routerLinks = linkDes.map(de => de.injector.get(RouterLinkStubDirective));
+ });
+
+ it('... can get correct number of routerLinks from template', () => {
+ expectToBe(routerLinks.length, 1);
+ });
+
+ it('... can get correct linkParams from template', () => {
+ const expectedRouterLink = expectedCardData.linkRouter;
+ expectToEqual(routerLinks[0].linkParams, expectedRouterLink);
+ });
+
+ it('... can click all links in template', () => {
+ const linkDe = linkDes[0];
+ const expectedRouterLink = expectedCardData.linkRouter;
+
+ expectToBe(routerLinks[0].navigatedTo, null);
+
+ click(linkDe);
+ fixture.detectChanges();
+
+ expectToEqual(routerLinks[0].navigatedTo, expectedRouterLink);
+ });
+ });
+ });
+});
diff --git a/src/app/views/home-view/home-view-card/home-view-card.component.ts b/src/app/views/home-view/home-view-card/home-view-card.component.ts
new file mode 100644
index 0000000000..292ef5ab21
--- /dev/null
+++ b/src/app/views/home-view/home-view-card/home-view-card.component.ts
@@ -0,0 +1,33 @@
+import { ChangeDetectionStrategy, Component, Input } from '@angular/core';
+
+import { faArrowRight } from '@fortawesome/free-solid-svg-icons';
+
+import { HomeViewCard } from '@awg-views/home-view/models';
+
+/**
+ * The HomeViewCard component.
+ *
+ * It contains the home card
+ * for the home view of the app.
+ */
+@Component({
+ selector: 'awg-home-view-card',
+ templateUrl: './home-view-card.component.html',
+ styleUrls: ['./home-view-card.component.scss'],
+ changeDetection: ChangeDetectionStrategy.OnPush,
+})
+export class HomeViewCardComponent {
+ /**
+ * Input variable: cardData.
+ *
+ * It keeps the data for the home view card.
+ */
+ @Input() cardData: HomeViewCard;
+
+ /**
+ * Public variable: faArrowRight.
+ *
+ * It instantiates fontawesome's faArrowRight icon.
+ */
+ faArrowRight = faArrowRight;
+}
diff --git a/src/app/views/home-view/home-view-card/index.ts b/src/app/views/home-view/home-view-card/index.ts
new file mode 100644
index 0000000000..10afebbc16
--- /dev/null
+++ b/src/app/views/home-view/home-view-card/index.ts
@@ -0,0 +1 @@
+export * from './home-view-card.component';
diff --git a/src/app/views/home-view/home-view.component.html b/src/app/views/home-view/home-view.component.html
index aac1055412..9a632caedb 100644
--- a/src/app/views/home-view/home-view.component.html
+++ b/src/app/views/home-view/home-view.component.html
@@ -1,114 +1,86 @@
+
+
+
- {{ editionRouteConstants.EDITION.short }} / {{ editionRouteConstants.SERIES_1.full }} /
- {{ editionRouteConstants.SECTION_5.full }}
-
-
- @for (
- editionComplex of DISPLAYED_EDITION_COMPLEXES | slice: 0 : SLICE_INDEX;
- track editionComplex.complexId.short
- ) {
-
- ({{ editionTypeConstants.SKETCH_EDITION.full }}
- @if (editionComplex.complexId.route.includes('op25')) {
- &
- {{
- editionRouteConstants.EDITION_GRAPH.short
- }}
+
+ @for (cardData of homeViewCardData; track $index) {
+
+
- {{ editionRouteConstants.EDITION.short }} / {{ editionRouteConstants.SERIES_2.full }} /
- {{ editionRouteConstants.SECTION_2A.full }}
-
+
- @for (
- editionComplex of DISPLAYED_EDITION_COMPLEXES | slice: SLICE_INDEX : DISPLAYED_EDITION_COMPLEXES.length;
- track editionComplex.complexId.short
- ) {
-
- ({{ editionTypeConstants.SKETCH_EDITION.full }})
-
- }
-
+
+ Willkommen bei der AWG-APP, der Online-Edition der Anton Webern Gesamtausgabe, Basel (AWG).
-
-
- Willkommen bei der AWG-APP, dem Prototyp einer Online-Edition der Anton Webern Gesamtausgabe, Basel (AWG).
-
- Die online zugänglichen Bestandteile und Datenbestände der AWG-Online-Edition werden als Open Data über diese
- Webapplikation präsentiert und über das Software-Framework
- DaSCH Service Platform (DSP) des
- Swiss National Data & Service Center for the Humanities (DaSCH)
- aufbereitet, zugänglich gehalten und langfristig aufbewahrt. Das DaSCH garantiert eine Zugänglichkeit der Daten
- gemäss FAIR-Prinzipien, die Zuweisung von digitalen Identifikatoren, maschinenlesbaren Metadaten und den
- langfristigen Betrieb der technischen Infrastruktur (vgl.
- Mission Statement DaSCH).
-
-
- Der Protoyp simuliert bereits in weiten Teilen eine Datenabfrage über die Programmierschnittstelle (API) von
- SALSAH (zukünftig DSP). Die für reale Abfragen im Bereich Online-Edition notwendige
- Datenstruktur wird zur Zeit von der AWG implementiert.
-
-
- Über den Menüpunkt Edition sind ausgewählte Skizzeneditionen zu
- @for (
- editionComplex of DISPLAYED_EDITION_COMPLEXES;
- track editionComplex.complexId.short;
- let i = $index;
- let n = $count
- ) {
-
-
- @if (i < n - 2) {
- ,
- } @else if (i === n - 2) {
- und
- }
- }
- sowie die
- Reihentabellen
- Weberns zugänglich. Bestandteile der Online-Edition umfassen Einleitungen, die edierten Notentexte, kritische
- Berichte sowie Graph-Visualisierungen.
-
-
- Zusätzlich werden eine einfache Volltextsuche und eine
- Erweiterte Suche in der Datenbank angeboten, über die die
- dort hinterlegten Kontextmaterialien (Werklisten [nach Opuszahl bzw. Moldenhauer-Nummer], Personeninformationen,
- Briefe & Supplements, Chronologie) abgefragt werden können.
-
-
- Bei diesem Prototyp handelt es sich um eine fortlaufende Weiterentwicklung einer
- prospektiven Simulation (PDF)
- vom 31. März 2015 sowie vom 29. Januar 2016. Der Programmcode ist als Open Access-Projekt frei zugänglich auf
- GitHub
- abgelegt und vollumfänglich
- dokumentiert
- (vgl. Dokumentation).
-
- Der Prototyp und die Suche werden in ihrer Funktionalität sukzessiv erweitert.
+
+ Über den Menüpunkt Edition sind aktuell die Online-Editionen zu den Abteilungen
+ @for (section of DISPLAYED_SECTIONS; track $index; let i = $index; let n = $count) {
+
+ {{ editionRouteConstants.EDITION.short }} {{ section.seriesParent.short }}/{{
+ section.section.short
+ }}
+
+ @if (i < n - 2) {
+ ,
+ } @else if (i === n - 2) {
+ und
+ }
+ }
+ sowie die
+ Reihentabellen
+ Weberns zugänglich. Bestandteile der Online-Edition umfassen Einleitungen, die edierten Notentexte
+ (Text- und Skizzeneditionen), Kritische Berichte sowie Graph-Visualisierungen (beta).
+
+
+
+
+
+ Über die (externe) Datenbank-Suche können Kontextmaterialien (Werklisten [nach Opuszahl bzw.
+ Moldenhauer-Nummer], Personeninformationen, Briefe & Supplements, Chronologie) abgefragt werden.
+
+ Über Anton Webern Gesamtausgabe gelangen Sie zur Projekt-Website.
+
+
+
+ Die online zugänglichen Bestandteile und Datenbestände der AWG-Online-Edition werden als Open Data über
+ diese Webapplikation präsentiert und über das Software-Framework
+ DaSCH Service Platform (DSP) des
+ Swiss National Data & Service Center for the Humanities (DaSCH)
+ aufbereitet, zugänglich gehalten und langfristig aufbewahrt. Das DaSCH garantiert eine Zugänglichkeit
+ der Daten gemäss FAIR-Prinzipien, die Zuweisung von digitalen Identifikatoren, maschinenlesbaren
+ Metadaten und den langfristigen Betrieb der technischen Infrastruktur (vgl.
+ Mission Statement DaSCH).
+
+
+
+ Der Programmcode der Applikation ist als Open Access-Projekt frei zugänglich auf
+ GitHub sowie
+ Zenodo abgelegt und vollumfänglich
+ dokumentiert.
+
+
+
diff --git a/src/app/views/home-view/home-view.component.scss b/src/app/views/home-view/home-view.component.scss
index e69de29bb2..44fea346a9 100644
--- a/src/app/views/home-view/home-view.component.scss
+++ b/src/app/views/home-view/home-view.component.scss
@@ -0,0 +1,4 @@
+.awg-home-view {
+ text-align: justify;
+ text-justify: inter-word;
+}
diff --git a/src/app/views/home-view/home-view.component.spec.ts b/src/app/views/home-view/home-view.component.spec.ts
index d0defcea83..3ac99934ee 100644
--- a/src/app/views/home-view/home-view.component.spec.ts
+++ b/src/app/views/home-view/home-view.component.spec.ts
@@ -1,7 +1,6 @@
/* eslint-disable @typescript-eslint/no-unused-vars */
import { Component, DebugElement, Input } from '@angular/core';
import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
-import { Router } from '@angular/router';
import Spy = jasmine.Spy;
@@ -10,22 +9,29 @@ import { click } from '@testing/click-helper';
import {
expectSpyCall,
expectToBe,
- expectToContain,
expectToEqual,
getAndExpectDebugElementByCss,
getAndExpectDebugElementByDirective,
} from '@testing/expect-helper';
import { RouterLinkStubDirective } from '@testing/router-stubs';
-import { METADATA } from '@awg-core/core-data';
+import { META_DATA } from '@awg-core/core-data';
import { MetaPage, MetaSectionTypes } from '@awg-core/core-models';
-import { EDITION_ROUTE_CONSTANTS, EDITION_TYPE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
-import { EditionComplex } from '@awg-views/edition-view/models';
-import { EditionComplexesService } from '@awg-views/edition-view/services';
+import { EDITION_ROUTE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
+import { EditionOutlineSection } from '@awg-views/edition-view/models';
+import { EditionComplexesService, EditionOutlineService } from '@awg-views/edition-view/services';
+import { HOME_VIEW_CARD_DATA } from '@awg-views/home-view/data';
+import { HomeViewCard } from '@awg-views/home-view/models';
import { HomeViewComponent } from './home-view.component';
-// Mock heading component
+// Mock components
+@Component({ selector: 'awg-alert-info', template: '' })
+class AlertInfoStubComponent {
+ @Input()
+ infoMessage: string;
+}
+
@Component({ selector: 'awg-heading', template: '' })
class HeadingStubComponent {
@Input()
@@ -34,31 +40,27 @@ class HeadingStubComponent {
id: string;
}
-/** Helper function */
-function generateExpectedOrderOfRouterlinks(editionComplexes: EditionComplex[]): string[][] {
- const editionAndGraphLinks = editionComplexes.flatMap(complex => {
- const routes = [[complex.baseRoute, EDITION_ROUTE_CONSTANTS.EDITION_SHEETS.route]];
- if (complex === EditionComplexesService.getEditionComplexById('OP25')) {
- routes.push([complex.baseRoute, EDITION_ROUTE_CONSTANTS.EDITION_GRAPH.route]);
- }
- return routes;
- });
-
- const structureLinks = [['/structure']];
+@Component({ selector: 'awg-home-view-card', template: '' })
+class HomeViewCardStubComponent {
+ @Input()
+ cardData: HomeViewCard;
+}
- const editionLinks = editionComplexes.map(complex => [
- complex.baseRoute,
- EDITION_ROUTE_CONSTANTS.EDITION_SHEETS.route,
+/** Helper function */
+function getRouterlinks(sections: EditionOutlineSection[]): string[][] {
+ const { EDITION, SERIES, SECTION, ROWTABLES } = EDITION_ROUTE_CONSTANTS;
+
+ const sectionLinks = sections.map(section => [
+ EDITION.route,
+ SERIES.route,
+ section?.seriesParent?.route,
+ SECTION.route,
+ section?.section?.route,
]);
+ const rowTablesLink = [[EDITION.route, ROWTABLES.route]];
+ const contactLink = [['/contact']];
- const otherLinks = [
- ['/edition', 'row-tables'],
- ['/data/search', 'fulltext'],
- ['/data/search', 'extended'],
- ['/contact'],
- ];
-
- return [...editionAndGraphLinks, ...structureLinks, ...editionLinks, ...otherLinks];
+ return [...sectionLinks, ...rowTablesLink, ...contactLink];
}
describe('HomeViewComponent (DONE)', () => {
@@ -69,26 +71,32 @@ describe('HomeViewComponent (DONE)', () => {
let linkDes: DebugElement[];
let routerLinks;
- let mockRouter: Partial;
-
- const expectedTitle = 'Beispieleditionen ausgewählter Skizzen';
- const expectedId = 'awg-home-view';
- const expectedSliceIndex = 5;
+ let provideMetaDataSpy: Spy;
+ const expectedEditionRouteConstants: typeof EDITION_ROUTE_CONSTANTS = EDITION_ROUTE_CONSTANTS;
+ let expectedTitle: string;
+ let expectedId: string;
+ let expectedDisclaimerInfoMessage: string;
+ let expectedHomeViewCardData: HomeViewCard[];
let expectedPageMetaData: MetaPage;
- let expectedEditionComplexes: EditionComplex[];
- let expectedOrderOfRouterlinks: string[][];
+ let expectedSections: EditionOutlineSection[];
- const expectedEditionRouteConstants: typeof EDITION_ROUTE_CONSTANTS = EDITION_ROUTE_CONSTANTS;
- const expectedEditionTypeConstants: typeof EDITION_TYPE_CONSTANTS = EDITION_TYPE_CONSTANTS;
+ let expectedRouterlinks: string[][];
- beforeEach(waitForAsync(() => {
- // Router spy object
- mockRouter = jasmine.createSpyObj('Router', ['navigate']);
+ beforeAll(() => {
+ EditionComplexesService.initializeEditionComplexesList();
+ EditionOutlineService.initializeEditionOutline();
+ });
+ beforeEach(waitForAsync(() => {
TestBed.configureTestingModule({
- declarations: [HomeViewComponent, HeadingStubComponent, RouterLinkStubDirective],
- providers: [{ provide: Router, useValue: mockRouter }],
+ declarations: [
+ HomeViewComponent,
+ AlertInfoStubComponent,
+ HeadingStubComponent,
+ HomeViewCardStubComponent,
+ RouterLinkStubDirective,
+ ],
}).compileComponents();
}));
@@ -98,28 +106,22 @@ describe('HomeViewComponent (DONE)', () => {
compDe = fixture.debugElement;
// Test data
- expectedPageMetaData = METADATA[MetaSectionTypes.page];
-
- expectedEditionComplexes = [
- EditionComplexesService.getEditionComplexById('OP3'),
- EditionComplexesService.getEditionComplexById('OP4'),
- EditionComplexesService.getEditionComplexById('OP12'),
- EditionComplexesService.getEditionComplexById('OP23'),
- EditionComplexesService.getEditionComplexById('OP25'),
- EditionComplexesService.getEditionComplexById('M22'),
- EditionComplexesService.getEditionComplexById('M30'),
- EditionComplexesService.getEditionComplexById('M31'),
- EditionComplexesService.getEditionComplexById('M34'),
- EditionComplexesService.getEditionComplexById('M35_42'),
- EditionComplexesService.getEditionComplexById('M37'),
+ expectedTitle = 'Anton Webern Gesamtausgabe: Online-Edition';
+ expectedId = 'awg-home-view';
+ expectedDisclaimerInfoMessage =
+ 'Die Online-Edition wird in Bezug auf Umfang und Funktionalität kontinuierlich erweitert.';
+ expectedHomeViewCardData = HOME_VIEW_CARD_DATA;
+ expectedPageMetaData = META_DATA[MetaSectionTypes.page];
+ expectedSections = [
+ EditionOutlineService.getEditionSectionById('1', '5'),
+ EditionOutlineService.getEditionSectionById('2', '2a'),
];
- expectedOrderOfRouterlinks = generateExpectedOrderOfRouterlinks(expectedEditionComplexes);
+ expectedRouterlinks = getRouterlinks(expectedSections);
// Spies on component functions
// `.and.callThrough` will track the spy down the nested describes, see
// https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
- spyOn(component, 'provideMetaData').and.callThrough();
- spyOn(component, 'routeToSidenav').and.callThrough();
+ provideMetaDataSpy = spyOn(component, 'provideMetaData').and.callThrough();
});
afterAll(() => {
@@ -136,24 +138,24 @@ describe('HomeViewComponent (DONE)', () => {
expectToBe(component.homeViewId, expectedId);
});
- it('... should have `DISPLAYED_EDITION_COMPLEXES`', () => {
- expectToEqual(component.DISPLAYED_EDITION_COMPLEXES, expectedEditionComplexes);
- });
-
- it('... should have as many `DISPLAYED_EDITION_COMPLEXES` as there are complexes in the array', () => {
- expectToEqual(component.DISPLAYED_EDITION_COMPLEXES.length, expectedEditionComplexes.length);
+ it('... should have `DISPLAYED_SECTIONS`', () => {
+ expectToEqual(component.DISPLAYED_SECTIONS, expectedSections);
});
- it('... should have `SLICE_INDEX`', () => {
- expectToBe(component.SLICE_INDEX, expectedSliceIndex);
+ it('... should have as many `DISPLAYED_SECTIONS` as there are sections in the array', () => {
+ expectToEqual(component.DISPLAYED_SECTIONS.length, expectedSections.length);
});
it('... should have `editionRouteConstants`', () => {
expectToBe(component.editionRouteConstants, expectedEditionRouteConstants);
});
- it('... should have `editionTypeConstants`', () => {
- expectToBe(component.editionTypeConstants, expectedEditionTypeConstants);
+ it('... should have `disclaimerInfoMessage`', () => {
+ expectToBe(component.disclaimerInfoMessage, expectedDisclaimerInfoMessage);
+ });
+
+ it('... should have `homeViewCardData`', () => {
+ expectToEqual(component.homeViewCardData, expectedHomeViewCardData);
});
it('... should not have pageMetaData', () => {
@@ -161,53 +163,61 @@ describe('HomeViewComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should contain one `awg-heading` component', () => {
- getAndExpectDebugElementByDirective(compDe, HeadingStubComponent, 1, 1);
+ it('... should contain one `div.awg-home-view`', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-home-view', 1, 1);
+ });
+
+ it('... should contain one `awg-heading` component in `div.awg-home-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 1, 1);
});
it('... should not pass down `title` and `id` to heading component', () => {
- const headingDes = getAndExpectDebugElementByDirective(compDe, HeadingStubComponent, 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view', 1, 1);
+ const headingDes = getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 1, 1);
const headingCmp = headingDes[0].injector.get(HeadingStubComponent) as HeadingStubComponent;
expect(headingCmp.title).toBeUndefined();
expect(headingCmp.id).toBeUndefined();
});
- it('... should contain three `div.para` elements', () => {
- getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
+ it('... should contain one `div.awg-home-view-content` in `div.awg-home-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-home-view-content', 1, 1);
});
- it('... should have one h6 breadcrumb but no h4 info headers in first div.para yet', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
- getAndExpectDebugElementByCss(divDes[0], 'h6.awg-breadcrumb', 1, 1);
- getAndExpectDebugElementByCss(divDes[0], 'h4.awg-edition-info-header', 0, 0);
+ it('... should contain an AlertInfoComponent (stubbed) in `div.awg-home-view-content`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-content', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], AlertInfoStubComponent, 1, 1);
});
- it('... should not render bread crumb header in first div.para yet', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
- const headerDes = getAndExpectDebugElementByCss(divDes[0], 'h6.awg-breadcrumb', 1, 1);
- const headerEl = headerDes[0].nativeElement;
+ it('... should not pass down infoMessage to AlertInfoComponent yet', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-content', 1, 1);
+ const alertInfoDes = getAndExpectDebugElementByDirective(divDes[0], AlertInfoStubComponent, 1, 1);
+ const alertInfoCmp = alertInfoDes[0].injector.get(AlertInfoStubComponent) as AlertInfoStubComponent;
- expectToBe(headerEl.textContent, '');
+ expect(alertInfoCmp.infoMessage).toBeUndefined();
});
- it('... should have one h6 breadcrumb but no h4 info headers in second div.para yet', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
- getAndExpectDebugElementByCss(divDes[1], 'h6.awg-breadcrumb', 1, 1);
- getAndExpectDebugElementByCss(divDes[1], 'h4.awg-edition-info-header', 0, 0);
+ it('... should contain one `div.awg-home-view-grid` in `div.awg-home-view-content`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-content', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-home-view-grid', 1, 1);
});
- it('... should not render bread crumb header in second div.para yet', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
- const headerDes = getAndExpectDebugElementByCss(divDes[1], 'h6.awg-breadcrumb', 1, 1);
- const headerEl = headerDes[0].nativeElement;
+ it('... should not contain any HomeViewCardComponent in `div.awg-home-view-grid` yet', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-grid', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], HomeViewCardStubComponent, 0, 0);
+ });
- expectToBe(headerEl.textContent, '');
+ it('... should contain one `div.awg-home-view-text` in `div.awg-home-view-content`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-content', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-home-view-text', 1, 1);
});
- describe('... should not render links in main text block yet to', () => {
+ describe('... should not render links in `div.awg-home-view-text` yet to', () => {
it('... DSP', () => {
- const dspDes = getAndExpectDebugElementByCss(compDe, 'a#dsp-link', 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const dspDes = getAndExpectDebugElementByCss(divDes[0], 'a#dsp-link', 1, 1);
const dspEl = dspDes[0].nativeElement;
expect(dspEl).toBeDefined();
@@ -215,7 +225,8 @@ describe('HomeViewComponent (DONE)', () => {
});
it('... DaSCH', () => {
- const daschDes = getAndExpectDebugElementByCss(compDe, 'a#dasch-link', 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const daschDes = getAndExpectDebugElementByCss(divDes[0], 'a#dasch-link', 1, 1);
const daschEl = daschDes[0].nativeElement;
expect(daschEl).toBeDefined();
@@ -223,7 +234,8 @@ describe('HomeViewComponent (DONE)', () => {
});
it('... DaSCH mission', () => {
- const daschMissionDes = getAndExpectDebugElementByCss(compDe, 'a#dasch-mission-link', 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const daschMissionDes = getAndExpectDebugElementByCss(divDes[0], 'a#dasch-mission-link', 1, 1);
const daschMissionEl = daschMissionDes[0].nativeElement;
expect(daschMissionEl).toBeDefined();
@@ -231,19 +243,21 @@ describe('HomeViewComponent (DONE)', () => {
});
it('... GitHub', () => {
- const githubDes = getAndExpectDebugElementByCss(compDe, 'a#github-link', 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const githubDes = getAndExpectDebugElementByCss(divDes[0], 'a#github-link', 1, 1);
const githubEl = githubDes[0].nativeElement;
expect(githubEl).toBeDefined();
expectToBe(githubEl.href, '');
});
- it('... Compodoc', () => {
- const compodocDes = getAndExpectDebugElementByCss(compDe, 'a#compodoc-link', 1, 1);
- const compodocEl = compodocDes[0].nativeElement;
+ it('... Zenodo', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const zenodoDes = getAndExpectDebugElementByCss(divDes[0], 'a#zenodo-link', 1, 1);
+ const zenodoEl = zenodoDes[0].nativeElement;
- expect(compodocEl).toBeDefined();
- expectToBe(compodocEl.href, '');
+ expect(zenodoEl).toBeDefined();
+ expectToBe(zenodoEl.href, '');
});
});
});
@@ -254,17 +268,7 @@ describe('HomeViewComponent (DONE)', () => {
});
it('... should not have been called', () => {
- expect(component.provideMetaData).not.toHaveBeenCalled();
- });
- });
-
- describe('#routeToSidenav()', () => {
- it('... should have a method `routeToSidenav`', () => {
- expect(component.routeToSidenav).toBeDefined();
- });
-
- it('... should not have been called', () => {
- expect(component.routeToSidenav).not.toHaveBeenCalled();
+ expectSpyCall(provideMetaDataSpy, 0);
});
});
});
@@ -276,6 +280,11 @@ describe('HomeViewComponent (DONE)', () => {
});
describe('VIEW', () => {
+ it('... should contain one `awg-heading` component in `div.awg-home-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 1, 1);
+ });
+
it('... should pass down `title` and `id` to heading component', () => {
const headingDes = getAndExpectDebugElementByDirective(compDe, HeadingStubComponent, 1, 1);
const headingCmp = headingDes[0].injector.get(HeadingStubComponent) as HeadingStubComponent;
@@ -285,102 +294,78 @@ describe('HomeViewComponent (DONE)', () => {
expectToBe(headingCmp.id, expectedId);
});
- it('... should render bread crumb header in first div.para', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
- const headerDes = getAndExpectDebugElementByCss(divDes[0], 'h6.awg-breadcrumb', 1, 1);
- const headerEl = headerDes[0].nativeElement;
-
- const expectedBreadCrumb = ` ${expectedEditionRouteConstants.EDITION.short} / ${expectedEditionRouteConstants.SERIES_1.full} / ${expectedEditionRouteConstants.SECTION_5.full} `;
-
- expectToBe(headerEl.textContent, expectedBreadCrumb);
+ it('... should contain one `div.awg-home-view-content` in `div.awg-home-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-home-view-content', 1, 1);
});
- it('... should render title of edition info headers in first div.para', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
-
- const expectedLength = expectedEditionComplexes.slice(0, expectedSliceIndex).length;
- const titleDes = getAndExpectDebugElementByCss(
- divDes[0],
- 'h4.awg-edition-info-header .awg-edition-info-header-title',
- expectedLength,
- expectedLength
- );
-
- titleDes.forEach((titleDe, index) => {
- const titleEl = titleDe.nativeElement;
- expectToBe(
- titleEl.innerHTML,
- expectedEditionComplexes.slice(0, expectedSliceIndex)[index].complexId.full
- );
- });
+ it('... should contain an AlertInfoComponent (stubbed) in `div.awg-home-view-content`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-content', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], AlertInfoStubComponent, 1, 1);
});
- it('... should render edition type links in first div.para', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
- const aDes = getAndExpectDebugElementByCss(divDes[0], '.awg-edition-info-header a', 6, 6);
-
- const expectedTextContents = Array(5).fill(expectedEditionTypeConstants.SKETCH_EDITION.full);
- // Last link is to edition graph
- expectedTextContents.push(expectedEditionRouteConstants.EDITION_GRAPH.short);
-
- aDes.forEach((aDe, index) => {
- const aEl = aDe.nativeElement;
+ it('... should pass down infoMessage to AlertInfoComponent', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-content', 1, 1);
+ const alertInfoDes = getAndExpectDebugElementByDirective(divDes[0], AlertInfoStubComponent, 1, 1);
+ const alertInfoCmp = alertInfoDes[0].injector.get(AlertInfoStubComponent) as AlertInfoStubComponent;
- expect(aEl).toBeDefined();
- expectToBe(aEl.textContent, expectedTextContents[index]);
- });
+ expectToBe(alertInfoCmp.infoMessage, expectedDisclaimerInfoMessage);
});
- it('... should render bread crumb header in second div.para', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
- const headerDes = getAndExpectDebugElementByCss(divDes[1], 'h6.awg-breadcrumb', 1, 1);
- const headerEl = headerDes[0].nativeElement;
+ it('... should contain one `div.awg-home-view-grid` in `div.awg-home-view-content`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-content', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-home-view-grid', 1, 1);
+ });
- const expectedBreadCrumb = ` ${expectedEditionRouteConstants.EDITION.short} / ${expectedEditionRouteConstants.SERIES_2.full} / ${expectedEditionRouteConstants.SECTION_2A.full} `;
+ it('... should contain as many `div.col` in `div.awg-home-view-grid` as entries in `homeViewCardData`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-grid', 1, 1);
- expectToBe(headerEl.textContent, expectedBreadCrumb);
+ getAndExpectDebugElementByCss(
+ divDes[0],
+ 'div.col',
+ expectedHomeViewCardData.length,
+ expectedHomeViewCardData.length
+ );
});
- it('... should render title of edition info headers in second div.para', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
-
- const expectedLength = expectedEditionComplexes.slice(expectedSliceIndex).length;
- const titleDes = getAndExpectDebugElementByCss(
- divDes[1],
- 'h4.awg-edition-info-header .awg-edition-info-header-title',
- expectedLength,
- expectedLength
+ it('... should contain as many HomeViewCardComponents in `div.awg-home-view-grid > div.col` as entries in `homeViewCardData`', () => {
+ const colDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-home-view-grid > div.col',
+ expectedHomeViewCardData.length,
+ expectedHomeViewCardData.length
);
- titleDes.forEach((titleDe, index) => {
- const titleEl = titleDe.nativeElement;
- expectToBe(
- titleEl.innerHTML,
- expectedEditionComplexes.slice(expectedSliceIndex)[index].complexId.full
- );
+ colDes.forEach(colDe => {
+ getAndExpectDebugElementByDirective(colDe, HomeViewCardStubComponent, 1, 1);
});
});
- it('... should render edition type links in second div.para', () => {
- const divDes = getAndExpectDebugElementByCss(compDe, 'div.para', 3, 3);
-
- const expectedLength = expectedEditionComplexes.slice(expectedSliceIndex).length;
- const aDes = getAndExpectDebugElementByCss(
- divDes[1],
- '.awg-edition-info-header a',
- expectedLength,
- expectedLength
+ it('... should pass down `cardData` to HomeViewCardComponents', () => {
+ const colDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-home-view-grid > div.col',
+ expectedHomeViewCardData.length,
+ expectedHomeViewCardData.length
);
- aDes.forEach((aDe, index) => {
- const aEl = aDe.nativeElement;
- expectToBe(aEl.textContent, expectedEditionTypeConstants.SKETCH_EDITION.full);
+ colDes.forEach((colDe, index) => {
+ const cardDes = getAndExpectDebugElementByDirective(colDe, HomeViewCardStubComponent, 1, 1);
+ const cardCmp = cardDes[0].injector.get(HomeViewCardStubComponent) as HomeViewCardStubComponent;
+
+ expectToEqual(cardCmp.cardData, expectedHomeViewCardData[index]);
});
});
+ it('... should contain one `div.awg-home-view-text` in `div.awg-home-view-content`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-content', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-home-view-text', 1, 1);
+ });
+
describe('... should render links to', () => {
it('... DSP', () => {
- const dspDes = getAndExpectDebugElementByCss(compDe, 'a#dsp-link', 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const dspDes = getAndExpectDebugElementByCss(divDes[0], 'a#dsp-link', 1, 1);
const dspEl = dspDes[0].nativeElement;
const dspRoute = 'dsp-app';
@@ -391,7 +376,8 @@ describe('HomeViewComponent (DONE)', () => {
});
it('... DaSCH', () => {
- const daschDes = getAndExpectDebugElementByCss(compDe, 'a#dasch-link', 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const daschDes = getAndExpectDebugElementByCss(divDes[0], 'a#dasch-link', 1, 1);
const daschEl = daschDes[0].nativeElement;
expect(daschEl).toBeDefined();
@@ -400,7 +386,8 @@ describe('HomeViewComponent (DONE)', () => {
});
it('... DaSCH mission', () => {
- const daschMissionDes = getAndExpectDebugElementByCss(compDe, 'a#dasch-mission-link', 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const daschMissionDes = getAndExpectDebugElementByCss(divDes[0], 'a#dasch-mission-link', 1, 1);
const daschMissionEl = daschMissionDes[0].nativeElement;
const missionRoute = 'mission';
@@ -411,7 +398,8 @@ describe('HomeViewComponent (DONE)', () => {
});
it('... GitHub', () => {
- const githubDes = getAndExpectDebugElementByCss(compDe, 'a#github-link', 1, 1);
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const githubDes = getAndExpectDebugElementByCss(divDes[0], 'a#github-link', 1, 1);
const githubEl = githubDes[0].nativeElement;
expect(githubEl).toBeDefined();
@@ -419,20 +407,21 @@ describe('HomeViewComponent (DONE)', () => {
expectToBe(githubEl.textContent, 'GitHub');
});
- it('... Compodoc', () => {
- const compodocDes = getAndExpectDebugElementByCss(compDe, 'a#compodoc-link', 1, 1);
- const compodocEl = compodocDes[0].nativeElement;
+ it('... Zenodo', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-home-view-text', 1, 1);
+ const zenodoDes = getAndExpectDebugElementByCss(divDes[0], 'a#zenodo-link', 1, 1);
+ const zenodoEl = zenodoDes[0].nativeElement;
- expect(compodocEl).toBeDefined();
- expectToContain(compodocEl.href, expectedPageMetaData.compodocUrl);
- expectToBe(compodocEl.textContent, 'dokumentiert');
+ expect(zenodoEl).toBeDefined();
+ expectToBe(zenodoEl.href, expectedPageMetaData.zenodoUrl);
+ expectToBe(zenodoEl.textContent, 'Zenodo');
});
});
});
describe('#provideMetaData()', () => {
it('... should have been called', () => {
- expect(component.provideMetaData).toHaveBeenCalled();
+ expectSpyCall(provideMetaDataSpy, 1);
});
it('... should return pageMetaData', () => {
@@ -440,57 +429,14 @@ describe('HomeViewComponent (DONE)', () => {
});
});
- describe('#routeToSideNav()', () => {
- let navigationSpy: Spy;
-
- beforeEach(() => {
- // Create spy of mockrouter SpyObj
- navigationSpy = mockRouter.navigate as jasmine.Spy;
- });
-
- it('... should have been called', () => {
- // Router navigation triggerd by onInit
- expect(component.routeToSidenav).toHaveBeenCalled();
- });
-
- it('... should have triggered `router.navigate`', () => {
- expectSpyCall(navigationSpy, 1);
- });
-
- it('... should tell ROUTER to navigate to `editionInfo` outlet', () => {
- const expectedRoute = 'editionInfo';
-
- // Catch args passed to navigation spy
- const navArgs = navigationSpy.calls.first().args;
- const outletRoute = navArgs[0][0].outlets.side;
-
- expect(navArgs).toBeDefined();
- expect(navArgs[0]).toBeDefined();
- expectToBe(outletRoute, expectedRoute);
-
- expect(navigationSpy).toHaveBeenCalledWith(navArgs[0], navArgs[1]);
- });
-
- it('... should tell ROUTER to navigate with `preserveFragment:true`', () => {
- // Catch args passed to navigation spy
- const navArgs = navigationSpy.calls.first().args;
- const navExtras = navArgs[1];
-
- expect(navExtras).toBeDefined();
- expectToBe(navExtras.preserveFragment, true);
-
- expect(navigationSpy).toHaveBeenCalledWith(navArgs[0], navArgs[1]);
- });
- });
-
describe('[routerLink]', () => {
beforeEach(() => {
// Find DebugElements with an attached RouterLinkStubDirective
linkDes = getAndExpectDebugElementByDirective(
compDe,
RouterLinkStubDirective,
- expectedOrderOfRouterlinks.length,
- expectedOrderOfRouterlinks.length
+ expectedRouterlinks.length,
+ expectedRouterlinks.length
);
// Get attached link directive instances using each DebugElement's injector
@@ -498,19 +444,19 @@ describe('HomeViewComponent (DONE)', () => {
});
it('... can get correct number of routerLinks from template', () => {
- expectToBe(routerLinks.length, expectedOrderOfRouterlinks.length);
+ expectToBe(routerLinks.length, expectedRouterlinks.length);
});
it('... can get correct linkParams from template', () => {
routerLinks.forEach((routerLink, index) => {
- expectToEqual(routerLink.linkParams, expectedOrderOfRouterlinks[index]);
+ expectToEqual(routerLink.linkParams, expectedRouterlinks[index]);
});
});
it('... can click all links in template', () => {
routerLinks.forEach((routerLink, index) => {
const linkDe = linkDes[index];
- const expectedRouterLink = expectedOrderOfRouterlinks[index];
+ const expectedRouterLink = expectedRouterlinks[index];
expectToBe(routerLink.navigatedTo, null);
diff --git a/src/app/views/home-view/home-view.component.ts b/src/app/views/home-view/home-view.component.ts
index 24f5da10b1..733807e5ee 100644
--- a/src/app/views/home-view/home-view.component.ts
+++ b/src/app/views/home-view/home-view.component.ts
@@ -1,32 +1,40 @@
import { ChangeDetectionStrategy, Component, OnInit } from '@angular/core';
-import { Router } from '@angular/router';
import { MetaPage, MetaSectionTypes } from '@awg-core/core-models';
import { CoreService } from '@awg-core/services';
-import { EDITION_ROUTE_CONSTANTS, EDITION_TYPE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
-import { EditionComplex } from '@awg-views/edition-view/models';
-import { EditionComplexesService } from '@awg-views/edition-view/services';
+import { EDITION_ROUTE_CONSTANTS } from '@awg-views/edition-view/edition-route-constants';
+import { EditionOutlineService } from '@awg-views/edition-view/services';
+
+import { HOME_VIEW_CARD_DATA } from '@awg-views/home-view/data';
+import { HomeViewCard } from '@awg-views/home-view/models';
/**
* The HomeView component.
*
* It contains the home view section of the app
- * with basic information about the prototype.
+ * with the landing page.
*/
@Component({
selector: 'awg-home-view',
templateUrl: './home-view.component.html',
styleUrls: ['./home-view.component.scss'],
- changeDetection: ChangeDetectionStrategy.OnPush,
+ changeDetection: ChangeDetectionStrategy.Default,
})
export class HomeViewComponent implements OnInit {
+ /**
+ * Public variable: disclaimerInfoMessage.
+ *
+ * It keeps the disclaimer info message for the home view section.
+ */
+ disclaimerInfoMessage = 'Die Online-Edition wird in Bezug auf Umfang und Funktionalität kontinuierlich erweitert.';
+
/**
* Public variable: homeViewTitle.
*
* It keeps the title for the heading component
* of the home view section.
*/
- homeViewTitle = 'Beispieleditionen ausgewählter Skizzen';
+ homeViewTitle = 'Anton Webern Gesamtausgabe: Online-Edition';
/**
* Public variable: homeId.
@@ -37,51 +45,38 @@ export class HomeViewComponent implements OnInit {
homeViewId = 'awg-home-view';
/**
- * Public variable: pageMetaData.
+ * Public variable: homeViewCardData.
*
- * It keeps the page metadata for the contact view.
+ * It keeps the data for the home view cards.
*/
- pageMetaData: MetaPage;
+ homeViewCardData: HomeViewCard[] = HOME_VIEW_CARD_DATA;
/**
- * Readonly variable: DISPLAYED_EDITION_COMPLEXES.
+ * Public variable: pageMetaData.
*
- * It keeps the array of displayed edition complexes.
+ * It keeps the page metadata for the home view.
*/
- readonly DISPLAYED_EDITION_COMPLEXES: EditionComplex[] = [
- EditionComplexesService.getEditionComplexById('OP3'),
- EditionComplexesService.getEditionComplexById('OP4'),
- EditionComplexesService.getEditionComplexById('OP12'),
- EditionComplexesService.getEditionComplexById('OP23'),
- EditionComplexesService.getEditionComplexById('OP25'),
- EditionComplexesService.getEditionComplexById('M22'),
- EditionComplexesService.getEditionComplexById('M30'),
- EditionComplexesService.getEditionComplexById('M31'),
- EditionComplexesService.getEditionComplexById('M34'),
- EditionComplexesService.getEditionComplexById('M35_42'),
- EditionComplexesService.getEditionComplexById('M37'),
- ];
+ pageMetaData: MetaPage;
/**
- * Readonly variable: sliceIndex.
+ * Readonly variable: DISPLAYED_SECTIONS.
*
- * It keeps the index for the slice of edition complexes.
+ * It keeps the array of displayed sections.
*/
- readonly SLICE_INDEX = 5;
+ readonly DISPLAYED_SECTIONS = [
+ EditionOutlineService.getEditionSectionById('1', '5'),
+ EditionOutlineService.getEditionSectionById('2', '2a'),
+ ];
/**
* Constructor of the HomeViewComponent.
*
* It declares a private CoreService instance
- * to get the metadata and a private Router instance.
+ * to get the metadata.
*
* @param {CoreService} coreService Instance of the CoreService.
- * @param {Router} router Instance of the Angular router.
*/
- constructor(
- private coreService: CoreService,
- private router: Router
- ) {}
+ constructor(private coreService: CoreService) {}
/**
* Getter variable: editionRouteConstants.
@@ -92,15 +87,6 @@ export class HomeViewComponent implements OnInit {
return EDITION_ROUTE_CONSTANTS;
}
- /**
- * Getter variable: editionTypeConstants.
- *
- * It returns the EDITION_TYPES.
- **/
- get editionTypeConstants(): typeof EDITION_TYPE_CONSTANTS {
- return EDITION_TYPE_CONSTANTS;
- }
-
/**
* Angular life cycle hook: ngOnInit.
*
@@ -108,7 +94,6 @@ export class HomeViewComponent implements OnInit {
* when initializing the component.
*/
ngOnInit() {
- this.routeToSidenav();
this.provideMetaData();
}
@@ -123,19 +108,4 @@ export class HomeViewComponent implements OnInit {
provideMetaData(): void {
this.pageMetaData = this.coreService.getMetaDataSection(MetaSectionTypes.page);
}
-
- /**
- * Public method: routeToSidenav.
- *
- * It activates the secondary outlet with the edition-info.
- *
- * @returns {void} Activates the edition-info side outlet.
- */
- routeToSidenav(): void {
- // Opens the side-info outlet while preserving the router fragment for scrolling
- this.router.navigate([{ outlets: { side: 'editionInfo' } }], {
- preserveFragment: true,
- queryParamsHandling: 'preserve',
- });
- }
}
diff --git a/src/app/views/home-view/home-view.module.ts b/src/app/views/home-view/home-view.module.ts
index 615d765cf1..3335048dc6 100644
--- a/src/app/views/home-view/home-view.module.ts
+++ b/src/app/views/home-view/home-view.module.ts
@@ -1,12 +1,17 @@
import { NgModule } from '@angular/core';
import { SharedModule } from '@awg-shared/shared.module';
+import { HomeViewCardComponent } from './home-view-card/home-view-card.component';
+
/**
* The homeView module.
*
- * It embeds the {@link SharedModule}.
+ * It embeds the home components
+ * as well as the {@link SharedModule}.
*/
@NgModule({
imports: [SharedModule],
+ declarations: [HomeViewCardComponent],
+ exports: [HomeViewCardComponent],
})
export class HomeViewModule {}
diff --git a/src/app/views/home-view/models/home-view-card.model.ts b/src/app/views/home-view/models/home-view-card.model.ts
new file mode 100644
index 0000000000..243439632a
--- /dev/null
+++ b/src/app/views/home-view/models/home-view-card.model.ts
@@ -0,0 +1,42 @@
+/**
+ * The HomeViewCard class.
+ *
+ * It is used in the context of the home view
+ * to store the data for a home view card.
+ */
+export class HomeViewCard {
+ /**
+ * The image source for the home view card.
+ */
+ imgSrc: string;
+
+ /**
+ * The image alt for the home view card.
+ */
+ imgAlt: string;
+
+ /**
+ * The title for the home view card.
+ */
+ title: string;
+
+ /**
+ * The text for the home view card.
+ */
+ text: string;
+
+ /**
+ * The router link for the home view card.
+ */
+ linkRouter?: string | any[];
+
+ /**
+ * The href for the home view card.
+ */
+ linkHref?: string;
+
+ /**
+ * The link text for the home view card.
+ */
+ linkText: string;
+}
diff --git a/src/app/views/home-view/models/index.ts b/src/app/views/home-view/models/index.ts
new file mode 100644
index 0000000000..922453a396
--- /dev/null
+++ b/src/app/views/home-view/models/index.ts
@@ -0,0 +1,12 @@
+/**
+ *
+ * HomeViewModels
+ *
+ * This file exports models that are used
+ * for the Home view.
+ *
+ */
+
+import { HomeViewCard } from './home-view-card.model';
+
+export { HomeViewCard };
diff --git a/src/app/views/page-not-found-view/page-not-found-view.component.html b/src/app/views/page-not-found-view/page-not-found-view.component.html
index bfd7346c9e..42abe34adb 100644
--- a/src/app/views/page-not-found-view/page-not-found-view.component.html
+++ b/src/app/views/page-not-found-view/page-not-found-view.component.html
@@ -1,11 +1,11 @@
-
- {{ pageNotFoundTitle }}
-
- {{ pageNotFoundSubTitle }}
+
+ {{ pageNotFoundSubTitle }}
+
- ![Page not found]()
+ ![Page not found]()
diff --git a/src/app/views/page-not-found-view/page-not-found-view.component.scss b/src/app/views/page-not-found-view/page-not-found-view.component.scss
index e69de29bb2..14eac815c5 100644
--- a/src/app/views/page-not-found-view/page-not-found-view.component.scss
+++ b/src/app/views/page-not-found-view/page-not-found-view.component.scss
@@ -0,0 +1,4 @@
+.awg-page-not-found-image > img {
+ object-fit: cover;
+ border-bottom: 1px solid var(--bs-card-border-color);
+}
diff --git a/src/app/views/page-not-found-view/page-not-found-view.component.spec.ts b/src/app/views/page-not-found-view/page-not-found-view.component.spec.ts
index 919cd2e0b1..28d37a689e 100644
--- a/src/app/views/page-not-found-view/page-not-found-view.component.spec.ts
+++ b/src/app/views/page-not-found-view/page-not-found-view.component.spec.ts
@@ -1,5 +1,5 @@
/* eslint-disable @typescript-eslint/no-unused-vars */
-import { DebugElement } from '@angular/core';
+import { Component, DebugElement, Input } from '@angular/core';
import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
import { cleanStylesFromDOM } from '@testing/clean-up-helper';
@@ -15,6 +15,15 @@ import { RouterLinkStubDirective } from '@testing/router-stubs';
import { PageNotFoundViewComponent } from './page-not-found-view.component';
+// Mock components
+@Component({ selector: 'awg-heading', template: '' })
+class HeadingStubComponent {
+ @Input()
+ title: string;
+ @Input()
+ id: string;
+}
+
describe('PageNotFoundViewComponent (DONE)', () => {
let component: PageNotFoundViewComponent;
let fixture: ComponentFixture;
@@ -30,7 +39,7 @@ describe('PageNotFoundViewComponent (DONE)', () => {
beforeEach(waitForAsync(() => {
TestBed.configureTestingModule({
- declarations: [PageNotFoundViewComponent, RouterLinkStubDirective],
+ declarations: [PageNotFoundViewComponent, HeadingStubComponent, RouterLinkStubDirective],
}).compileComponents();
}));
@@ -60,32 +69,67 @@ describe('PageNotFoundViewComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should contain one `div.awg-page-not-found`', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found', 1, 1);
+ it('... should contain one `div.awg-page-not-found-view`', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found-view', 1, 1);
+ });
+
+ it('... should contain one `awg-heading` component in `div.awg-page-not-found-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found-view', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 1, 1);
});
- it('... should contain one `h2` title and on `h5` subtitle', () => {
- getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found > h2', 1, 1);
+ it('... should not pass down `title` and `id` to heading component', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found-view', 1, 1);
+ const headingDes = getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 1, 1);
+ const headingCmp = headingDes[0].injector.get(HeadingStubComponent) as HeadingStubComponent;
- getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found > h5', 1, 1);
+ expect(headingCmp.title).toBeUndefined();
+ expect(headingCmp.id).toBeUndefined();
});
- it('... should contain one body with text-centered div', () => {
- getAndExpectDebugElementByCss(
+ it('... should contain one text-centered body', () => {
+ const bodyDes = getAndExpectDebugElementByCss(
compDe,
- 'div.awg-page-not-found > div.awg-page-not-found-body.text-center',
+ 'div.awg-page-not-found-view > div.awg-page-not-found-body',
1,
1
);
+ const bodyEl = bodyDes[0].nativeElement;
+
+ expectToContain(bodyEl.classList, 'text-center');
+ });
+
+ it('... should contain one `h5` subtitle in body', () => {
+ const bodyDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-page-not-found-view > div.awg-page-not-found-body',
+ 1,
+ 1
+ );
+ getAndExpectDebugElementByCss(bodyDes[0], 'h5#awg-page-not-found-subtitle', 1, 1);
+ });
+
+ it('... should not render subtitle yet', () => {
+ const bodyDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-page-not-found-view > div.awg-page-not-found-body',
+ 1,
+ 1
+ );
+ const subtitleDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5#awg-page-not-found-subtitle', 1, 1);
+ const subtitleEl = subtitleDes[0].nativeElement;
+
+ expectToBe(subtitleEl.textContent, '');
});
it('... should contain one div with img (empty yet) in body', () => {
- const imgDes = getAndExpectDebugElementByCss(
+ const bodyDes = getAndExpectDebugElementByCss(
compDe,
- 'div.awg-page-not-found-body > div.awg-page-not-found-image > img',
+ 'div.awg-page-not-found-view > div.awg-page-not-found-body',
1,
1
);
+ const imgDes = getAndExpectDebugElementByCss(bodyDes[0], 'div.awg-page-not-found-image > img', 1, 1);
const imgEl = imgDes[0].nativeElement;
expectToBe(imgEl.src, '');
@@ -99,17 +143,6 @@ describe('PageNotFoundViewComponent (DONE)', () => {
getAndExpectDebugElementByCss(bodyDes[0], 'p#awg-page-not-found-back', 1, 1);
});
- it('... should not render pageNotFoundTitle or pageNotFoundSubtitle yet', () => {
- const titleDes = getAndExpectDebugElementByCss(compDe, 'h2#awg-page-not-found-title', 1, 1);
- const titleEl = titleDes[0].nativeElement;
-
- const subtitleDes = getAndExpectDebugElementByCss(compDe, 'h5#awg-page-not-found-subtitle', 1, 1);
- const subtitleEl = subtitleDes[0].nativeElement;
-
- expectToBe(titleEl.textContent, '');
- expectToBe(subtitleEl.textContent, '');
- });
-
it('... should not render contact url yet', () => {
const contactDes = getAndExpectDebugElementByCss(compDe, 'p#awg-page-not-found-contact > a', 1, 1);
const contactEl = contactDes[0].nativeElement;
@@ -126,25 +159,63 @@ describe('PageNotFoundViewComponent (DONE)', () => {
});
describe('VIEW', () => {
- it('... should render pageNotFoundTitle in the `h2`-element', () => {
- const titleDes = getAndExpectDebugElementByCss(compDe, 'h2#awg-page-not-found-title', 1, 1);
- const titleEl = titleDes[0].nativeElement;
+ it('... should contain one `awg-heading` component in `div.awg-page-not-found-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found-view', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 1, 1);
+ });
+
+ it('... should pass down `title` and `id` to heading component', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found-view', 1, 1);
+ const headingDes = getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 1, 1);
+ const headingCmp = headingDes[0].injector.get(HeadingStubComponent) as HeadingStubComponent;
+
+ expectToBe(headingCmp.title, expectedPageNotFoundTitle);
+ expectToBe(headingCmp.id, 'awg-page-not-found-title');
+ });
- expectToContain(titleEl.textContent, expectedPageNotFoundTitle);
+ it('... should contain one `h5` subtitle in body', () => {
+ const bodyDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-page-not-found-view > div.awg-page-not-found-body',
+ 1,
+ 1
+ );
+ getAndExpectDebugElementByCss(bodyDes[0], 'h5#awg-page-not-found-subtitle', 1, 1);
});
- it('... should render pageNotFoundSubTitle in the `h5`-element', () => {
- const subtitleDes = getAndExpectDebugElementByCss(compDe, 'h5#awg-page-not-found-subtitle', 1, 1);
+ it('... should render subtitle', () => {
+ const bodyDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-page-not-found-view > div.awg-page-not-found-body',
+ 1,
+ 1
+ );
+ const subtitleDes = getAndExpectDebugElementByCss(bodyDes[0], 'h5#awg-page-not-found-subtitle', 1, 1);
const subtitleEl = subtitleDes[0].nativeElement;
expectToContain(subtitleEl.textContent, expectedPageNotFoundSubTitle);
});
- it('... should render image', () => {
- const imgDes = getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found-image > img', 1, 1);
+ it('... should contain one div with rendered img in body', () => {
+ const bodyDes = getAndExpectDebugElementByCss(
+ compDe,
+ 'div.awg-page-not-found-view > div.awg-page-not-found-body',
+ 1,
+ 1
+ );
+ const imgDes = getAndExpectDebugElementByCss(bodyDes[0], 'div.awg-page-not-found-image > img', 1, 1);
const imgEl = imgDes[0].nativeElement;
expectToContain(imgEl.src, expectedPageNotFoundImgPath);
+ expectToBe(imgEl.alt, 'Page not found');
+ });
+
+ it('... should contain 2 paragraphs (contact and back) in body', () => {
+ const bodyDes = getAndExpectDebugElementByCss(compDe, 'div.awg-page-not-found-body', 1, 1);
+
+ getAndExpectDebugElementByCss(bodyDes[0], 'div.awg-page-not-found-body > p', 2, 2);
+ getAndExpectDebugElementByCss(bodyDes[0], 'p#awg-page-not-found-contact', 1, 1);
+ getAndExpectDebugElementByCss(bodyDes[0], 'p#awg-page-not-found-back', 1, 1);
});
it('... should render contact url', () => {
diff --git a/src/app/views/page-not-found-view/page-not-found-view.component.ts b/src/app/views/page-not-found-view/page-not-found-view.component.ts
index 8c617b9c1f..9226bb8ec4 100644
--- a/src/app/views/page-not-found-view/page-not-found-view.component.ts
+++ b/src/app/views/page-not-found-view/page-not-found-view.component.ts
@@ -12,7 +12,7 @@ import { AppConfig } from '@awg-app/app.config';
selector: 'awg-page-not-found-view',
templateUrl: './page-not-found-view.component.html',
styleUrls: ['./page-not-found-view.component.scss'],
- changeDetection: ChangeDetectionStrategy.OnPush,
+ changeDetection: ChangeDetectionStrategy.Default,
})
export class PageNotFoundViewComponent {
/**
diff --git a/src/app/views/structure-view/structure-view-routing.module.ts b/src/app/views/structure-view/structure-view-routing.module.ts
index 10b8abb3cc..c76a8ff307 100644
--- a/src/app/views/structure-view/structure-view-routing.module.ts
+++ b/src/app/views/structure-view/structure-view-routing.module.ts
@@ -1,6 +1,7 @@
import { NgModule } from '@angular/core';
import { RouterModule, Routes } from '@angular/router';
+import { StructureInfoComponent } from '@awg-side-info/structure-info/structure-info.component';
import { StructureViewComponent } from '@awg-views/structure-view/structure-view.component';
/* Routes of the StructureViewModule */
@@ -10,13 +11,18 @@ const STRUCTURE_VIEW_ROUTES: Routes = [
component: StructureViewComponent,
data: { title: 'AWG Online Edition – Structure' },
},
+ {
+ path: '',
+ outlet: 'side',
+ component: StructureInfoComponent,
+ },
];
/**
* Routed components of the {@link StructureViewModule}:
* {@link StructureViewComponent}.
*/
-export const routedStructureViewComponents = [StructureViewComponent];
+export const routedStructureViewComponents = [StructureViewComponent, StructureInfoComponent];
/**
* StructureView module routing.
diff --git a/src/app/views/structure-view/structure-view.component.html b/src/app/views/structure-view/structure-view.component.html
index 89302f14e1..8123635470 100644
--- a/src/app/views/structure-view/structure-view.component.html
+++ b/src/app/views/structure-view/structure-view.component.html
@@ -1,34 +1,41 @@
+
+
+
+ Das Modell zeigt die für eine AWG-Online-Edition projektierte Datenstruktur, die zur Zeit intern in der
+ Webern-DSP-Datenbank implementiert wird.
+
-
-
- Das Modell zeigt die für eine AWG-Online-Edition projektierte Datenstruktur, die zur Zeit intern in der
- Webern-SALSAH-Datenbank implementiert wird.
-
+
+ Die erforderlichen Objektklassen und Eigenschaften werden von DSP intern als RDF (Resource Description Framework) Triple verwaltet. Sie sind in der Grafik als Ellipsen symbolisiert, deren Verknüpfungen und Verweise
+ untereinander als Pfeile dargestellt.
+
-
- Die erforderlichen Objektklassen und Eigenschaften werden von SALSAH intern als RDF (Resource Description Framework) Triple verwaltet. Sie sind in der Grafik als Ellipsen symbolisiert, deren Verknüpfungen und Verweise
- untereinander als Pfeile dargestellt.
-
+
+ Komplexere Objektstrukturen, wie die aus mehreren Unter- oder Einzelobjekten zu modellierenden Notentexte
+ oder Kritischen Berichte, sind als Gruppen zusammengefasst. Zudem sind die Schnittstellen zum
+ dokumentarischen Bereich der Webern-DSP-Datenbank angedeutet.
+
-
- Komplexere Objektstrukturen, wie die aus mehreren Unter- oder Einzelobjekten zu modellierenden Notentexte oder
- Kritischen Berichte, sind als Gruppen zusammengefasst. Zudem sind die Schnittstellen zum dokumentarischen Bereich
- der Webern-SALSAH-Datenbank angedeutet.
-
-
-
-
+
+
+
+
diff --git a/src/app/views/structure-view/structure-view.component.spec.ts b/src/app/views/structure-view/structure-view.component.spec.ts
index 22fcceb9c1..f37f3263dd 100644
--- a/src/app/views/structure-view/structure-view.component.spec.ts
+++ b/src/app/views/structure-view/structure-view.component.spec.ts
@@ -1,17 +1,9 @@
/* eslint-disable @typescript-eslint/no-unused-vars */
import { Component, DebugElement, Input } from '@angular/core';
import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
-import { Router } from '@angular/router';
-
-import Spy = jasmine.Spy;
import { cleanStylesFromDOM } from '@testing/clean-up-helper';
-import {
- expectSpyCall,
- expectToBe,
- getAndExpectDebugElementByCss,
- getAndExpectDebugElementByDirective,
-} from '@testing/expect-helper';
+import { expectToBe, getAndExpectDebugElementByCss, getAndExpectDebugElementByDirective } from '@testing/expect-helper';
import { StructureViewComponent } from './structure-view.component';
@@ -29,18 +21,12 @@ describe('StructureViewComponent (DONE)', () => {
let fixture: ComponentFixture;
let compDe: DebugElement;
- let mockRouter: Partial;
-
const expectedTitle = 'Datenstrukturmodell';
const expectedId = 'awg-structure-view';
beforeEach(waitForAsync(() => {
- // Router spy object
- mockRouter = jasmine.createSpyObj('Router', ['navigate']);
-
TestBed.configureTestingModule({
declarations: [StructureViewComponent, HeadingStubComponent],
- providers: [{ provide: Router, useValue: mockRouter }],
}).compileComponents();
}));
@@ -48,11 +34,6 @@ describe('StructureViewComponent (DONE)', () => {
fixture = TestBed.createComponent(StructureViewComponent);
component = fixture.componentInstance;
compDe = fixture.debugElement;
-
- // Spies on component functions
- // `.and.callThrough` will track the spy down the nested describes, see
- // https://jasmine.github.io/2.0/introduction.html#section-Spies:_%3Ccode%3Eand.callThrough%3C/code%3E
- spyOn(component, 'routeToSidenav').and.callThrough();
});
afterAll(() => {
@@ -69,24 +50,14 @@ describe('StructureViewComponent (DONE)', () => {
expectToBe(component.structureViewId, expectedId);
});
- describe('#routeToSidenav()', () => {
- it('... should have a method `routeToSidenav`', () => {
- expect(component.routeToSidenav).toBeDefined();
- });
-
- it('... should not have been called', () => {
- expect(component.routeToSidenav).not.toHaveBeenCalled();
- });
- });
-
describe('VIEW', () => {
- it('... should contain one heading component (stubbed)', () => {
- getAndExpectDebugElementByDirective(compDe, HeadingStubComponent, 1, 1);
+ it('... should contain one `div.awg-structure-view`', () => {
+ getAndExpectDebugElementByCss(compDe, 'div.awg-structure-view', 1, 1);
});
- it('... should contain three `p` & one `svg` element', () => {
- getAndExpectDebugElementByCss(compDe, 'p', 3, 3);
- getAndExpectDebugElementByCss(compDe, 'svg', 1, 1);
+ it('... should contain one heading component (stubbed) in `div.awg-structure-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-structure-view', 1, 1);
+ getAndExpectDebugElementByDirective(divDes[0], HeadingStubComponent, 1, 1);
});
it('... should not pass down `title` and `id` to heading component', () => {
@@ -96,6 +67,17 @@ describe('StructureViewComponent (DONE)', () => {
expect(headingCmp.title).toBeUndefined();
expect(headingCmp.id).toBeUndefined();
});
+
+ it('... should contain one `div.awg-structure-view-content` in `div.awg-structure-view`', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-structure-view', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'div.awg-structure-view-content', 1, 1);
+ });
+
+ it('... should contain three `p` & one `svg` element in div.awg-structure-view-content', () => {
+ const divDes = getAndExpectDebugElementByCss(compDe, 'div.awg-structure-view-content', 1, 1);
+ getAndExpectDebugElementByCss(divDes[0], 'p', 3, 3);
+ getAndExpectDebugElementByCss(divDes[0], 'svg', 1, 1);
+ });
});
});
@@ -105,49 +87,6 @@ describe('StructureViewComponent (DONE)', () => {
fixture.detectChanges();
});
- describe('#routeToSideNav()', () => {
- let navigationSpy: Spy;
-
- beforeEach(() => {
- // Create spy of mockrouter SpyObj
- navigationSpy = mockRouter.navigate as jasmine.Spy;
- });
-
- it('... should have been called', () => {
- // Router navigation triggerd by onInit
- expect(component.routeToSidenav).toHaveBeenCalled();
- });
-
- it('... should have triggered `router.navigate`', () => {
- expectSpyCall(navigationSpy, 1);
- });
-
- it('... should tell ROUTER to navigate to `structureInfo` outlet', () => {
- const expectedRoute = 'structureInfo';
-
- // Catch args passed to navigation spy
- const navArgs = navigationSpy.calls.first().args;
- const outletRoute = navArgs[0][0].outlets.side;
-
- expect(navArgs).toBeDefined();
- expect(navArgs[0]).toBeDefined();
- expectToBe(outletRoute, expectedRoute);
-
- expect(navigationSpy).toHaveBeenCalledWith(navArgs[0], navArgs[1]);
- });
-
- it('... should tell ROUTER to navigate with `preserveFragment:true`', () => {
- // Catch args passed to navigation spy
- const navArgs = navigationSpy.calls.first().args;
- const navExtras = navArgs[1];
-
- expect(navExtras).toBeDefined();
- expectToBe(navExtras.preserveFragment, true);
-
- expect(navigationSpy).toHaveBeenCalledWith(navArgs[0], navArgs[1]);
- });
- });
-
describe('VIEW', () => {
it('... should pass down `title` and `id` to heading component', () => {
const headingDes = getAndExpectDebugElementByDirective(compDe, HeadingStubComponent, 1, 1);
diff --git a/src/app/views/structure-view/structure-view.component.ts b/src/app/views/structure-view/structure-view.component.ts
index 21c0d1edec..284431bc22 100644
--- a/src/app/views/structure-view/structure-view.component.ts
+++ b/src/app/views/structure-view/structure-view.component.ts
@@ -1,5 +1,4 @@
-import { ChangeDetectionStrategy, Component, OnInit } from '@angular/core';
-import { Router } from '@angular/router';
+import { ChangeDetectionStrategy, Component } from '@angular/core';
/**
* The StructureView component.
@@ -11,9 +10,9 @@ import { Router } from '@angular/router';
selector: 'awg-structure-view',
templateUrl: './structure-view.component.html',
styleUrls: ['./structure-view.component.scss'],
- changeDetection: ChangeDetectionStrategy.OnPush,
+ changeDetection: ChangeDetectionStrategy.Default,
})
-export class StructureViewComponent implements OnInit {
+export class StructureViewComponent {
/**
* Public variable: structureViewTitle.
*
@@ -29,38 +28,4 @@ export class StructureViewComponent implements OnInit {
* of the structure view section.
*/
structureViewId = 'awg-structure-view';
-
- /**
- * Constructor of the StructureViewComponent.
- *
- * It declares a private Router instance.
- *
- * @param {Router} router Instance of the Angular router.
- */
- constructor(private router: Router) {}
-
- /**
- * Angular life cycle hook: ngOnInit.
- *
- * It calls the containing methods
- * when initializing the component.
- */
- ngOnInit() {
- this.routeToSidenav();
- }
-
- /**
- * Public method: routeToSidenav.
- *
- * It activates the secondary outlet with the structure-info.
- *
- * @returns {void} Activates the structure-info side outlet.
- */
- routeToSidenav(): void {
- // Opens the side-info outlet while preserving the router fragment for scrolling
- this.router.navigate([{ outlets: { side: 'structureInfo' } }], {
- preserveFragment: true,
- queryParamsHandling: 'preserve',
- });
- }
}
diff --git a/src/assets/data/edition/edition-outline.json b/src/assets/data/edition/edition-outline.json
index 189cd012f4..078fd220c6 100644
--- a/src/assets/data/edition/edition-outline.json
+++ b/src/assets/data/edition/edition-outline.json
@@ -5,56 +5,74 @@
"sections": [
{
"section": "1",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "2",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "3",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "4",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "5",
- "complexTypes": {
- "opus": [
- { "complex": "OP3", "disabled": false },
- { "complex": "OP4", "disabled": false },
- { "complex": "OP12", "disabled": false },
- { "complex": "OP23", "disabled": false },
- { "complex": "OP25", "disabled": false }
- ],
- "mnr": [
- { "complex": "M133", "disabled": true },
- { "complex": "M134", "disabled": true },
- { "complex": "M135", "disabled": true },
- { "complex": "M136", "disabled": true },
- { "complex": "M137", "disabled": true },
- { "complex": "M138", "disabled": true },
- { "complex": "M139", "disabled": true },
- { "complex": "M140", "disabled": true },
- { "complex": "M141", "disabled": true },
- { "complex": "M142", "disabled": true },
- { "complex": "M143", "disabled": false },
- { "complex": "M144", "disabled": false },
- { "complex": "M145", "disabled": false },
- { "complex": "M146", "disabled": false },
- { "complex": "M213", "disabled": true },
- { "complex": "M212", "disabled": true },
- { "complex": "M216", "disabled": true },
- { "complex": "M217", "disabled": true }
- ]
- },
- "disabled": false
+ "disabled": false,
+ "content": {
+ "intro": {
+ "disabled": false,
+ "preview": "Die in Serie I Abteilung 5 versammelten Klavierlieder beinhalten die erkennbaren Textfassungen der zu Lebzeiten Anton Weberns mit Opuszahlen versehenen und gedruckten oder zum Druck vorgesehenen Klavierlieder (op. 3, 4, 12, 23 und 25) sowie verschiedene dem Entstehungsprozess einiger dieser Editionskomplexe zuzuordnende Einzellieder (George-Lieder M 143–146). Weitere zu Lebzeiten Weberns nicht publizierte Lied-Komplexe, auch wenn sie mit später obsolet gewordenen Opuszahlen versehen wurden (z. B. Dehmel-Lieder M 83, 119, 130–131), werden in Serie II Abteilung 5 ediert."
+ },
+ "complexTypes": {
+ "opus": [
+ { "complex": "OP3", "disabled": false },
+ { "complex": "OP4", "disabled": false },
+ { "complex": "OP12", "disabled": false },
+ { "complex": "OP23", "disabled": false },
+ { "complex": "OP25", "disabled": false }
+ ],
+ "mnr": [
+ { "complex": "M133", "disabled": true },
+ { "complex": "M134", "disabled": true },
+ { "complex": "M135", "disabled": true },
+ { "complex": "M136", "disabled": true },
+ { "complex": "M137", "disabled": true },
+ { "complex": "M138", "disabled": true },
+ { "complex": "M139", "disabled": true },
+ { "complex": "M140", "disabled": true },
+ { "complex": "M141", "disabled": true },
+ { "complex": "M142", "disabled": true },
+ { "complex": "M143", "disabled": false },
+ { "complex": "M144", "disabled": false },
+ { "complex": "M145", "disabled": false },
+ { "complex": "M146", "disabled": false },
+ { "complex": "M213", "disabled": true },
+ { "complex": "M212", "disabled": true },
+ { "complex": "M216", "disabled": true },
+ { "complex": "M217", "disabled": true }
+ ]
+ }
+ }
}
]
},
@@ -63,45 +81,63 @@
"sections": [
{
"section": "1",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "2A",
- "complexTypes": {
- "opus": [],
- "mnr": [
- { "complex": "M22", "disabled": false },
- { "complex": "M30", "disabled": false },
- { "complex": "M31", "disabled": false },
- { "complex": "M34", "disabled": false },
- { "complex": "M35_42", "disabled": false },
- { "complex": "M36", "disabled": false },
- { "complex": "M37", "disabled": false },
- { "complex": "M38", "disabled": false }
- ]
- },
- "disabled": false
+ "disabled": false,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": {
+ "opus": [],
+ "mnr": [
+ { "complex": "M22", "disabled": false },
+ { "complex": "M30", "disabled": false },
+ { "complex": "M31", "disabled": false },
+ { "complex": "M34", "disabled": false },
+ { "complex": "M35_42", "disabled": false },
+ { "complex": "M36", "disabled": false },
+ { "complex": "M37", "disabled": false },
+ { "complex": "M38", "disabled": false }
+ ]
+ }
+ }
},
{
"section": "2B",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "3",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "4",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "5",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
}
]
},
@@ -110,28 +146,43 @@
"sections": [
{
"section": "1",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "2",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "3",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "4",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
},
{
"section": "5",
- "complexTypes": { "opus": [], "mnr": [] },
- "disabled": true
+ "disabled": true,
+ "content": {
+ "intro": { "disabled": true },
+ "complexTypes": { "opus": [], "mnr": [] }
+ }
}
]
}
diff --git a/src/assets/data/edition/preface.json b/src/assets/data/edition/preface.json
index 7d63d08a7f..f9416de6c2 100644
--- a/src/assets/data/edition/preface.json
+++ b/src/assets/data/edition/preface.json
@@ -1,7 +1,7 @@
{
"preface": [
{
- "id": "de",
+ "id": "de-preface",
"content": [
" Die Anton Webern Gesamtausgabe (AWG) versteht sich als historisch-kritische Gesamtausgabe der Kompositionen Anton Weberns. Sie ist historisch, indem sie die Kompositionen durch Dokumentation verschiedener Textfassungen und ihrer Skizzen als in sich chronologisch differenzierte Editionskomplexe präsentiert sowie deren Entstehung in den Zusammenhang der Biographie des Komponisten und der allgemeinen Musikgeschichte einordnet. Sie ist kritisch, indem sie sämtliche erreichbaren Quellen vergleicht und textkritisch prüft. Sie ist eine Gesamtausgabe, indem sie die auf Grundlage dieser Quellenkritik erkennbaren Textfassungen und Skizzen sämtlicher, auch fragmentarischer Kompositionen ediert. Sie ist eine Gesamtausgabe, indem sie Notentexte mit dem methodischen Bewusstsein vorlegt, dass eine Edition grundsätzlich eine Interpretation des durch die Quellen bezeugten Texts darstellt.",
"Die AWG gliedert sich in drei Serien:",
@@ -41,7 +41,7 @@
]
},
{
- "id": "en",
+ "id": "en-preface",
"content": [
"The Anton Webern Gesamtausgabe (AWG) is a historical-critical complete edition of Anton Webern’s compositions. It is historical in that it documents different versions of the musical text (Textfassungen) plus related sketches for each composition, organized chronologically and grouped together in clusters where the common circumstances of their composition imply that they should be presented together (such clusters are in the German-language documentation of the Anton Webern Gesamtausgabe referred to throughout as Editionskomplexe). The AWG also situates these compositions and their genesis in the context of the composer’s biography and of general music history. It is critical in that it compares all the available sources and examines them critically. It is a complete edition in that it uses the aforementioned critical appraisal of the sources to edit all the recognizable versions and sketches of Webern’s compositions, including those that are extant as fragments. It is a complete edition in that its methodological basis for presenting a musical text presupposes an awareness that such an edition is fundamentally an interpretation of the text to which the sources bear witness.",
"The AWG is divided into three series:",
diff --git a/src/assets/data/edition/series/1/section/5/intro.json b/src/assets/data/edition/series/1/section/5/intro.json
new file mode 100644
index 0000000000..f5940dc92b
--- /dev/null
+++ b/src/assets/data/edition/series/1/section/5/intro.json
@@ -0,0 +1,1001 @@
+{
+ "intro": [
+ {
+ "id": "de-awg-I-5",
+ "content": [
+ {
+ "blockId": "preamble",
+ "blockHeader": "",
+ "blockContent": [
+ "Die in Serie I Abteilung 5 versammelten Klavierlieder beinhalten die erkennbaren Textfassungen der zu Lebzeiten Anton Weberns mit Opuszahlen versehenen und gedruckten oder zum Druck vorgesehenen Klavierlieder (op. 3, 4, 12, 23 und 25) sowie verschiedene dem Entstehungsprozess einiger dieser Editionskomplexe zuzuordnende Einzellieder (George-Lieder M 143–146). Weitere zu Lebzeiten Weberns nicht publizierte Lied-Komplexe, auch wenn sie mit später obsolet gewordenen Opuszahlen versehen wurden (z. B. Dehmel-Lieder M 83, 119, 130–131), werden in Serie II Abteilung 5 ediert.
"
+ ],
+ "blockNotes": []
+ },
+ {
+ "blockId": "op3+4",
+ "blockHeader": "George-Lieder",
+ "blockContent": [
+ "Die insgesamt 14 Klavierlieder Weberns auf Texte von Stefan George (M 133–146) wurden in ihren frühesten Textfassungen vermutlich zwischen Dezember 1907 und 1909 komponiert und gehören zusammen mit den Fünf Sätzen für Streichquartett M 147–151 sowie den Sechs Stücken für großes Orchester M 152–157 zu seinen ersten sogenannten atonalen Kompositionen. Die Zusammenstellung der beiden 1919 bzw. 1923 gedruckten Sammlungen Fünf Lieder aus Der siebente Ring von Stefan George op. 3 und Fünf Lieder nach Gedichten von Stefan George op. 4 stand dabei nicht von Anfang an fest, sondern war einem langwierigen und in seinen verschiedenen Stadien nicht mehr eindeutig rekonstruierbaren Prozess unterworfen, während dessen die meisten Lieder in verschiedenen Textfassungen vorlagen.
",
+ "Eine erste George-Rezeption Weberns ist bereits um 1900 nachweisbar, als er in eines seiner Tagebücher das Gedicht Indes deine mutter dich stillt abschreibt.1 Eine kompositorische Auseinandersetzung mit diesem Gedicht oder eine weitergehende George-Lektüre ist nicht dokumentiert. Zu weiteren Berührungen mit Georges Lyrik dürfte es im Wiener Ansorge-Verein gekommen sein, in dem Webern zusammen mit seinem Studienfreund Karl Horwitz seit 1904 aktiv war und dessen Vereinsabende auch Aufführungen von George-Vertonungen Conrad Ansorges (Fünf Gesänge nach Dichtungen von Stefan George op. 14) im Programm hatten.2
",
+ "Seit Sommer 1907 besaß Webern eine Ausgabe von Georges Das Jahr der Seele und ab Sommer 1908 auch Exemplare von Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten sowie von Der siebente Ring.3 Alle Bücher weisen Kreuz- oder Winkelmarkierungen bei einigen, jedoch nicht bei allen Titeln der von Webern – auch der als Chorstück bzw. Orchesterlied (Entflieht auf leichten kähnen bzw. Kunfttag III) – vertonten Gedichte auf. Nur in einem Fall (Kunfttag II) findet sich eine Markierung bei einem Gedicht, zu dem keine musikalische Umsetzung durch Webern bekannt ist. Über die Kriterien der Textauswahl Weberns aus den ihm vorliegenden Gedichtbänden gibt es keine Dokumente.4
",
+ "Ein entscheidender Impuls zur kompositorischen Auseinandersetzung mit Gedichten Georges bestand vermutlich nicht zuletzt in Vertonungen Arnold Schönbergs, der am 17. Dezember 1907 das Lied Ich darf nicht dankend op. 14 Nr. 1 und von März bis Mai 1908 zahlreiche Lieder (nachweislich: Nr. 3–8) des Zyklus Fünfzehn Gedichte aus Das Buch der hängenden Gärten von Stefan George op. 15 komponiert hatte.5 In einem Brief vom 11. Juni 1908 an Schönberg finden sich Hinweise, dass Webern einige der zu diesem Zeitpunkt bereits fertiggestellten Lieder kannte.6 Verschiedene Merkmale lassen es plausibel erscheinen, dass „Erwachen aus dem tiefsten Traumesschoße“ M 143 Weberns erste, und zwar sich deutlich auf Schönbergs op. 14 Nr. 1 beziehende George-Vertonung für Singstimme und Klavier darstellt. Der Umstand, dass diese beiden Lieder im Unterschied zu den meisten später folgenden noch eine Tonartvorzeichnung aufweisen (wie auch Weberns ebenfalls möglicherweise 1907/08 entstandener Chor „Entflieht auf leichten Kähnen“ M 129), deutet auf eine vergleichsweise frühe Konzeption hin, die – mit Blick auf das dokumentierte Entstehungsdatum von Schönbergs op. 14 Nr. 1 als terminus post quem – zwischen Dezember 1907 und Juni 1908 stattgefunden haben könnte.7 Ein Vergleich des Schriftduktus und der verwendeten Notenpapiersorten legt nahe, dass einschließlich „Erwachen aus dem tiefsten Traumesschoße“ M 143 die ersten bzw. einzigen Textfassungen folgender Lieder bereits ebenfalls bis Mitte 1908 entstanden sein könnten:
",
+
+ "„Dies ist ein Lied“ M 133 (Textfassung 1 in A, Textfassung 2 in B) „Erwachen aus dem tiefsten Traumesschoße“ M 143 (einzige Textfassung in A) „Im Windesweben“ M 134 (Textfassung 1 in A) Kunfttag I M 144 (einzige Textfassung in A)
",
+
+ "In einem Brief an Schönberg vom Dezember 1908 schrieb Webern aus Berlin – im Zusammenhang einer Bitte um ein Empfehlungsschreiben an Richard Strauss und im Hinblick auf den wohl von Schönberg vorgeschlagenen Kontakt zu dem Berliner Verleger Max Marschalk (Dreililien-Verlag) –, dass er nicht ausreichend Material für ein Liederheft habe:
",
+
+ "Ich weiß nicht, ich habe so eine blöde Scheu. Das ist es auch[,] warum ich noch nicht bei Marschalk war.
",
+ "Wenn ich ein Liederheft fertig hätte. Aber so kann er ja nichts nehmen, momentan.
",
+ "Einerseits möchte ich, andrerseits –8
",
+
+ "Offensichtlich schienen Webern also die vermutlich bis Ende 1908 vorliegenden vier George-Lieder sowie die ebenfalls bereits komponierten fünf Dehmel-Lieder M 83, M 119, M 130–132 keine publikationswürdige Option darzustellen.9
",
+ "Ein expliziter und datierter Hinweis auf die Komposition eines George-Liedes findet sich erstmals in einem Brief an Heinrich Jalowetz vom 25. Mai 1909 aus Wien: „Ich habe wieder – Gott sei Dank – etwas geschrieben. Ein Lied nach George ‚Trauer I‘ (VII. Ring).“10 In den darauf folgenden Wochen und Monaten, die Webern ab dem 29. Mai zum größten Teil auf dem Familiengut Preglhof in Kärnten verbrachte, berichtete er Schönberg von der Fertigstellung (einer ersten Textfassung) seiner Fünf Sätze für Streichquartett M 147–151 sowie von weiteren Plänen zu Lied- und Orchesterkompositionen (Sechs Stücke für großes Orchester M 152–157),11 die sich jedoch durch den Tod und die Beerdigung seines Großvaters mütterlicherseits, Anton Geer, zunächst verzögerten:
",
+
+ "Ja, aus den oben angegebenen Gründen, hab’ ich nur ein Lied seit dem Quartett geschrieben. Wieder Stefan George. Vorgestern und Gestern war’s. Jetzt kommen noch ein par [sic]. Ich hab nämlich jetzt so wenig Ruh hier. Aber es muß noch alles werden.12
",
+
+ "Der Aufenthalt in Kärnten wurde darüber hinaus vermutlich ab Mitte Juli durch ein kurzfristiges Theaterengagement Weberns in Innsbruck unterbrochen. Ab Ende Juli meldete sich Webern wieder vom Preglhof bei Schönberg, und am 20. August hieß es in einem der Briefe:
",
+
+ "Mittlerweile habe ich 2 Lieder und zwei Orchesterstücke geschrieben. Die Lieder wieder ganz anders als bisher. Natürlich auch die Orchestersachen.“13
",
+
+ "Um welche George-Lieder es sich bei den in diesen Briefen an Schönberg erwähnten im Einzelnen handelte, ist nicht klar. Das einzige genauer datierbare George-Lied Weberns bleibt somit Trauer I M 145, das noch vor dem Aufenthalt in Kärnten kurz vor dem 25. Mai 1909 geschrieben wurde. Das verwendete Notenpapier sowie ein im Vergleich zu den oben genannten mutmaßlich 1908 komponierten Liedern deutlicher Wechsel des Schriftduktus legen nahe, dass im Laufe des Sommers oder Herbstes 1909 einschließlich Trauer I M 145 auch die ersten bzw. einzigen Textfassungen folgender Lieder entstanden sind:
",
+
+ "„An Bachesranft“ M 135 (Textfassung 1 in E) „Das lockere Saatgefilde“ M 146 (einzige Textfassung in A) Eingang M 138 (Textfassung 1 in A) „Im Morgentaun“ M 136 (Textfassung 1 in D [Fragment], E und G) „Ja Heil und Dank dir“ M 140 (Textfassung 1 in B) „Kahl reckt der Baum“ M 137 (Textfassung 1 in E) „Noch zwingt mich Treue“ M 139 (Textfassung 1 in B) „So ich traurig bin“ M 141 (Textfassung 1 in B) Trauer I M 145 (einzige Textfassung in A – vor dem 25. Mai 1909)
",
+
+ "Auf der Grundlage der hier vorgeschlagenen schriftbildlichen Einschätzung lässt sich auch eine weitere Niederschrift von „Dies ist ein Lied“ M 133 (Textfassung 2: Grundschicht in C) diesem zeitlichen Umfeld zuordnen. Ob die nicht überlieferte autographe Niederschrift von „Ihr tratet zu dem Herde“ M 142 ([C]) auch 1909 oder bereits 1908 entstanden ist, lässt sich auf dieser Basis freilich nicht entscheiden.
",
+ "Im Unterschied zu den Kompositionen Weberns vor 1908 und nach 1914 sind zu den George-Liedern (wie auch zu den meisten anderen im selben Zeitraum entstandenen Werken) keine konzipierenden (und häufig datierten) Bleistift-Skizzen (Verlaufsskizzen) überliefert, lediglich in den vorhandenen Tinten-Niederschriften Korrekturskizzen mit Bleistift zu einzelnen Stellen. Ob es solche in anderen Schaffensphasen Weberns üblichen Verlaufsskizzen mit Bleistift trotzdem gegeben hat oder ob die frühen mit Tinte niedergeschriebenen Textfassungen der Lieder im Kompositionsprozess für Webern hier eine quasi-skizzierende Funktion hatten, lässt sich nicht pauschal beantworten.14
",
+ "Die Uraufführung von sechs George-Liedern fand am 8. Februar 1910 in Wien im Rahmen eines Konzerts des Vereins für Kunst und Kultur (der Weiterführung des Ansorge-Vereins) statt. Im gleichen Konzert wurden Weberns Fünf Sätze für Streichquartett M 147–151 sowie Lieder von Bruno Walter und Karl Weigl aufgeführt.15 Weberns Lieder sang, von ihm selbst am Klavier begleitet, Martha Winternitz-Dorda, die bereits einige Wochen zuvor, am 14. Januar, in einem weiteren Konzert des Vereins für Kunst und Kultur mit verschiedenen Schönberg-Aufführungen dessen Fünfzehn Gedichte aus Das Buch der hängenden Gärten von Stefan George op. 15 uraufgeführt hatte. Das Programmheft für den 8. Februar ordnet die Gedichttexte von folgenden sechs George-Vertonungen Weberns unter dem Sammeltitel „Lieder nach Stefan George“ in zwei nach den jeweiligen Gedichtbänden gegliederten Gruppen an, ohne eine Opuszahl zu nennen (in der folgenden schematischen Zusammenfassung mit der bei der Aufführung mutmaßlich zugrundeliegenden Textfassung):
",
+
+ "Aus dem siebenten Ring Eingang M 138 (Textfassung 1) „Dies ist ein Lied“ M 133 (Textfassung 2) „Im Windesweben“ M 134 (Textfassung 2) „Kahl reckt der Baum“ M 137 (Textfassung 1) Aus dem Jahr der Seele „Noch zwingt mich Treue“ M 139 (Textfassung 1) „Ihr tratet zu dem Herde“ M 142 (unbekannte Textfassung)
",
+
+ "Von nahezu allen diesen Liedern sind Abschriften fremder Hand in F (in Quellenübersicht zu op. 3) und D (in Quellenübersicht zu op. 4) überliefert, die sehr wahrscheinlich für diese Aufführung angefertigt worden waren: Nummerierungen der Lieder mit Bleistift von „I“ bis „V“ in den beiden genannten Quellen entsprechen der Reihenfolge der Texte im Programmheft. (Die nicht überlieferte Abschrift von „Ihr tratet zu dem Herde“ M 142 [E] dürfte vermutlich mit der Ziffer „VI“ bezeichnet gewesen sein.) Die Kopisten-Handschrift wirkt in einigen musikalisch-orthographischen Details sehr unbeholfen und weist in der Textunterlegung Ähnlichkeit mit der Schrift von Wilhelmine (Minna) Mörtl, Weberns späterer Ehefrau, auf. Die Abschriften zeigen in der Regel zahlreiche Eintragungen Weberns, die zum Teil (vor allem bei „Dies ist ein Lied“ M 133) Überarbeitungen zu späteren Textfassungen betreffen. Einige der Eintragungen mit rotem Buntstift dürften aber von der Vorbereitung zur Uraufführung im Februar 1910 stammen, wobei die genannten Abschriften vermutlich von der Sängerin benutzt worden waren. Mit Blick auf die mutmaßlich bei der Aufführung zugrundeliegenden Textfassungen hätte Webern die Klavierbegleitung wahrscheinlich aus den folgenden Quellen im Zustand der entsprechenden Korrekturschicht spielen können:
",
+
+ "Eingang M 138: A (Textfassung 1) „Dies ist ein Lied“ M 133: C (Textfassung 2) „Im Windesweben“ M 134: E (Textfassung 2) „Kahl reckt der Baum“ M 137: E (Textfassung 1) „Noch zwingt mich Treue“ M 139: B (Textfassung 1) „Ihr tratet zu dem Herde“ M 142: [C] (unbekannte Textfassung)
",
+
+ "Die in diesem Konzert von 1910 gespielten Kompositionen Weberns erhielten mehrere negative Kritiken. Angeführt sei hier beispielhaft die Passage einer Besprechung von Julius Korngold in der Neuen Freien Presse, in der auch auf das vorangegangene Schönberg-Konzert mit der Uraufführung von dessen George-Liedern op. 15 explizit Bezug genommen wird:16
",
+
+ "Kürzlich beschäftigte uns der Fall Schönberg, nun gibt es auch den Fall Anton v. Webern, wenn auch im Grunde beide eins sind. Denn Herr v. Webern ist Schönbergs Schüler, dazu einer, der nicht bloß auf die Worte des Meisters schwört, sondern diesen in manchem Betrachte übertrumpft. Dem ist gut so; die Spannung schwindet, eine fast gemütliche Gleichgiltigkeit stellt sich ein. Mit dem Lehrer konnte und mußte man sich noch auseinandersetzen, nicht mehr mit dem Jünger. […] Auch sechs Lieder nach Stephan [sic] George gehen, und nicht bloß in der Wahl des Dichters, auf Schönbergs Pfaden. Zu Akkorden aus der neuen Harmonielehre tritt eine in den entsprechenden Intervallen psalmodierende Singstimme. Auch der musikalisch geschulte, gut aufnahmsfähige Hörer macht eine psychische Erfahrung: er glaubt immer dasselbe zu hören. Hier schafft aber das Wort einigen Ausdruck, freilich durchgehends den seelischer Geknicktheit, seelischen Zerfalls. Wenn man guten Willens ist, wird man an den besten Stellen an Oktave Mirbeaus Maler gemahnt, der schließlich nur noch „Seelen“ malen wollte. . . .
",
+ "Der Leser vergebe unsere grimmige Heiterkeit. Am Faschingdienstag aufgeführt, überträgt diese Musik unwillkürlich etwas von dessen Stimmung auf den Aschermittwoch der Kritik.17
",
+
+ "Die sechs 1910 uraufgeführten Lieder stellen lediglich eine Auswahl aus den zu diesem Zeitpunkt sehr wahrscheinlich bereits komponierten 14 George-Liedern Weberns dar. In zwei handschriftlichen Titelaufstellungen hatte der Komponist vermutlich bereits vor der Uraufführung alle Lieder in zwei als „op. 2“ und „op. 4“ gezählten Sammlungen mit jeweils sieben Liedern angeordnet.18 Die beiden Listen lauten (mit Winkelmarkierungen in Bleistift „[b]“ und rotem Buntstift „[r]“):
",
+
+ "Sieben Lieder nach Gedichten von Stefan George op. 2 [b] 1. Eingang. („VII. Ring“) [b + r] 2. „Dies ist ein Lied...“ („VII. Ring“) 3. „Erwachen aus dem tiefsten traumesschoße....“ | („Jahr der Seele“) [b + r] 4. „Im windes-weben.....“ („VII. Ring“) 5. Kunfttag 1. – [b + r] 6. „Kahl reckt der baum..“ – [b] 7. [„]Im morgentaun....“ – Anton von Webern Sieben Lieder op. 4 nach Gedichten von Stefan George 1. Trauer I („Maximin“)aus dem „VII. Ring“ 2. „Ja heil und dank dir....“ („Nach der Lese“) aus „Jahr der Seele“ [b + r] 3. „Noch zwingt mich treue....“ („Waller im Schnee“) aus „Jahr der Seele“ [b] 4. „An bachesranft....“ („Lieder I–IV [sic]“ aus dem VII. Ring“) 5 „Das lockere saatgefilde....“(„Gezeiten“) aus dem „VII. Ring“ 6 „So ich traurig bin.....“(„Sänge eines fahrenden Spielmanns“ aus „Die Bücher der Hirten- und Preisgedichte, der Sagen u. Sänge u[.] d. hängenden | Gärten“ [r] 7 [b] „Ihr tratet zu dem herde....“ („Traurige Tänze“) aus „Jahr der Seele“
",
+
+ "Einige Merkmale der beiden Listen zeigen,19 dass ihre Niederschrift nicht gleichzeitig erfolgte. Im Sinne der Opuszahlen-Reihenfolge, die von der Passacaglia M 127 als „op. 1“ begonnen und von den Fünf Sätzen für Streichquartett M 147–151 als „op. 3“ unterbrochen worden sein dürfte, ist die Zusammenstellung der Sieben Lieder „op. 2“ also vermutlich früher als die der in der zweiten Liste mit „op. 4“ bezeichneten Lieder vorgenommen worden. (Hierzu passt auch, dass in „op. 2“ alle mutmaßlich bereits 1908 komponierten Lieder versammelt sind.)20 Trotz ihrer Unterschiede und der zu vermutenden zeitlichen Differenz ihrer Entstehung weisen die beiden Listen Spuren einer gemeinsamen Bearbeitung auf, nämlich die bereits erwähnten Winkel-Markierungen mit Bleistift und rotem Buntstift links neben einigen Zeilen (in der letzten Zeile zu „op. 4“ auch zwischen Liednummer und Anfangszeile). Zusätzlich sind in der Liste von „op. 4“ einige Nummerierungen („1“, „5“ und „6“) mit Bleistift gestrichen. Möglicherweise markiert der rote Buntstift die Auswahl für die Aufführung vom 8. Februar 1910 (wobei der Winkel neben „2. ‚Dies ist ein lied…‘ “ in der Liste zu „op. 2“ sich auch auf das darüberstehende „1. Eingang.“ beziehen würde)21: Alle George-Lieder sowie die beiden Listen selbst wären dann vor diesem Datum entstanden. In diesem Fall wären diese beiden Liedsammlungen vermutlich auch unter den Kompositionen gewesen, die Webern bei einem von Schönberg initiierten Treffen mit dem Direktor der Universal Edition, Emil Hertzka, am 9. Oktober 1909 präsentierte – allerdings ohne dass in der Folge irgendeines der vorgestellten Werke in den Verlag aufgenommen wurde.22
",
+ "Die beiden Zusammenstellungen stellen jedoch nicht einfach umfangreichere Formen der später als Opus 3 und Opus 4 gedruckten Sammlungen dar:23 So spielt das Ordnungsprinzip der 1919 publizierten Fünf Lieder aus Der siebente Ring von Stefan George op. 3, nämlich sämtliche von Webern vertonte Texte des Binnenzyklus Lieder aus Der siebente Ring in der Reihenfolge der Vorlage zu bringen,24 in der Liste zu „op. 2“ keine Rolle.25 Das in Opus 3 enthaltene „An Bachesranft“ M 135 erscheint hier in „op. 4“, und das in den 1923 gedruckten Fünf Liedern nach Gedichten von Stefan George op. 4 tatsächlich enthaltene „So ich traurig bin“ M 141 ist auf der Liste zu den Sieben Liedern „op. 4“ gestrichen.
",
+ "Anfang Juni 1911 schickte Webern „ungefähr 10 Lieder“ zusammen mit den Fünf Sätzen für Streichquartett M 147–151 und den Vier Stücken für Geige und Klavier M 161–164 an den Dreililien-Verlag in Berlin.26 Um welche Lieder es sich dabei im Einzelnen gehandelt hat, ist nicht zu eruieren. Nachdem alle Werke abgelehnt worden waren, reichte Webern Ende September oder Anfang Oktober vermutlich dieselben Kompositionen beim Kölner Verlag Tischer & Jagenberg ein,27 allerdings wieder ohne eine Publikation zu erreichen.28
",
+ "Im Herbst 1911 erhielt Webern ebenso wie Schönberg und Alban Berg die Einladung eine Notenbeilage zum von Wassily Kandinsky und Franz Marc herausgegebenen Almanach Der blaue Reiter beizusteuern. Hierfür wählte er „Ihr tratet zu dem Herde“ M 142. Aus einem Brief an Paul Königer geht hervor, dass Webern dieses Lied auch in die Auswahl der an Tischer & Jagenberg gesandten Lieder aufgenommen hatte:
",
+
+ "Sie wollen dieses Lied von mir; ja ich habe die zwei Exemplare, die ich hatte, verschickt an den „blauen Reiter“ und an den Verleger.
",
+ "Ich würde es aber, wenn das noch möglich ist, aus der Skizze neuerdings abschreiben und Ihnen schenken.29
",
+
+ "Vermutlich hatte Webern also die nicht überlieferten Quellen [C] und [E] an den Kölner Verlag bzw. an Der blaue Reiter geschickt. Mit der Absage des Verlegers Gerhard Tischer Ende Dezember 1911 / Anfang Januar 1912 erhielt Webern auch seine Noten zurück und konnte Königer das versprochene Exemplar des Liedes in Aussicht stellen: „Mein Lied bekommst Du bald. Es erscheint übrigens im ‚blauen Reiter‘.“30 (Ende Januar erreichte Webern „die Korrektur meines Liedes“,31 also vermutlich eine Korrekturfahne des nach seiner Vorlage erstellten Notenstiches [F].) Der blaue Reiter erschien im Mai 1912, Webern erhielt sein Exemplar (mit GH) Anfang Juni.32
",
+ "Bereits Anfang des Jahres 1912 hatte Webern den Plan gefasst, eine Auswahl von neun Liedern zusammen mit anderen Werken im Privatdruck erscheinen zu lassen, wie er in einem Brief an Berg schrieb:
",
+
+ "Auf Schönbergs Zureden habe ich mich entschlossen 4 meiner Werke (Passacaglia, 9 Lieder, Quartett [das erste] und die älteren 6 Orchesterstücke) im Straube-Druck (so wie Schönbergs II. Quartett) herauszugeben. Ich habe also mit der Revision dieser Noten viel zu thun.33
",
+
+ "Diesem Entschluss waren im Februar Besprechungen mit Schönberg vorangegangen, der die Durchsicht verschiedener Werke Weberns in seinem Tagebuch erwähnt, darunter auch ausdrücklich Lieder:
",
+
+ "Nachmittags kam Webern, um seine Lieder (die er drucken lassen will) mit mir durchzugehen. Gefielen mir wieder sehr. Wirklich ein originelles Talent. Ich sehe, er wird etwas Großes werden.34
",
+
+ "In seinem Handexemplar GH des in Der blaue Reiter erschienenen Liedes überarbeitete Webern die Textfassung und ergänzte die Opuszahl „2“. In den beiden oben genannten Listen der jeweils Sieben Lieder „op. 2“ und „op. 4“ wurde das Lied jedoch noch unter „op. 4“ eingeordnet: Vermutlich war „Ihr tratet zu dem Herde“ M 142 (Textfassung 2) also Teil einer neuen als „op. 2“ gezählten Sammlung von „9 Liedern“, die eine Auswahl aus allen 14 George-Liedern darstellte und die bisherigen beiden Zusammenstellungen ersetzte. Welche anderen Lieder dieser neuen Sammlung angehörten, ist nicht dokumentiert. Zu der Veröffentlichung „im Straube-Druck“ aller vier genannten Opera kam es schließlich nicht. Tatsächlich erschienen in dieser Form 1913 dann nur die Orchesterstücke M 152–157 als „op. 4“.
",
+ "Stattdessen erwähnt Webern im Sommer 1912 in einem Brief an Schönberg den Plan, eine wieder andere, die Lieder zunächst bewusst aussparende Auswahl seiner Kompositionen bei Simrock einzureichen:
",
+
+ "Ich werde noch heute an Simrock folgendes schicken: die „Passacaglia“[,] das Quartett und die Violinstücke. Ich habe meine Lieder noch immer nicht ordentlich abgeschrieben, sonst schickte ich die auch. Ich werde aber in einem Brief davon sprechen. Vielleicht verlangt er dann die Lieder. Bis dahin bringe ich sie in Ordnung.35
",
+
+ "Wenige Wochen später erhielt Webern jedoch auch hier eine Absage.36 Ob er einige seiner Lieder in der Folge gleichwohl „ordentlich abgeschrieben“ hatte, ist nicht nachweisbar. Anfang 1913 schickte Webern schließlich eine nicht näher bestimmte Lieder-Auswahl an den Gadow-Verlag in Hildburghausen, offensichtlich jedoch wieder ohne Erfolg.37
",
+ "Im Sommer 1914 verwendete sich Schönberg erneut bei der Universal Edition für Webern:38 Nach einem Gespräch Weberns mit Hertzka am 25. Juni wurde schließich verabredet, dass im darauffolgenden Jahr von Webern „[d]ie Partitur op. 4, der Chor u. ein Heft Lieder oder die Violinstücke“39 aufgenommen werden würden. Eine Entscheidung zwischen einem Liederheft und den Vier Stücken für Geige und Klavier M 161–164 musste jedoch nie gefällt werden: Zu einer Publikation während des Ersten Weltkriegs, der wenige Wochen nach der Verabredung mit Hertzka begann, kam es aus ökonomischen Erwägungen nicht.40
",
+ "Wenige Tage vor Kriegsausbruch ergab sich durch die Vermittlung von Alban Berg und Alfred Kalmus gleichwohl noch die vermeintliche Möglichkeit, für eine bei der Universal Edition vorbereitete Sammelpublikation Das moderne Lied etwas beizusteuern:41 Webern schickte drei – nicht zu bestimmende – Lieder ein,42 von denen jedoch keines Berücksichtigung fand.43
",
+ "Auf eine Auswahl von neun George-Liedern verweist eine in ihrer Grundschicht mit roter Tinte geschriebene autographe Titelseite (Bl. 8r in H): 44
",
+
+ "Neun Lieder | op[.] 6 [„6“ korrigiert aus: „5“; die gesamte Zeile nachträglich mit Bleistift ergänzt] | nach Gedichten von Stefan George | komponiert | von | Anton von Webern.
",
+
+ "Die Änderung der Opuszahl der „Neun Lieder“ von „op. 2“ zu zunächst „op. 5“ erfolgte vermutlich 1914, als der Chor „Entflieht auf leichten Kähnen“ M 129 in die Werkzählung als op. 2 aufgenommen wurde. Die Lieder rückten somit hinter die als „op. 3“ bezeichneten Streichquartett-Kompositionen M 147–151, M 171–174 und M 178–180 sowie die inzwischen tatsächlich im Privatdruck als „op. 4“ erschienenen Orchesterstücke M 152–157. Eine solche Neuordnung der Opuszahlen könnte Webern während der „Revision“ seiner kompositorischen Arbeiten Ende 1914 / Anfang 1915 durchgeführt haben45 – möglicherweise auch noch mit Blick auf die in Aussicht gestellte Publikation einiger seiner Werke in der zweiten Jahreshälfte 1915 bei der Universal Edition. Dieser Sammlung von „Neun Liedern op. 5“ gehörte zu einem bestimmten Zeitpunkt vermutlich „Erwachen aus dem tiefsten Traumesschoße“ M 143 an, das in A die nachträgliche Bezeichnung „op[.] 5 No 2“ erhielt. Wann und warum auf der zitierten Titelseite in H die erneute Modifizierung der Zählung von „op. 5“ zu „op. 6“ vorgenommen wurde, ist unklar. (1914 wurden vermutlich zunächst die Vier Stücke für Geige und Klavier M 161–164 als „op. 6“ gezählt.) Inwieweit sich die Zusammenstellungen der „ungefähr 10 Lieder“ oder „9 Lieder“ bzw. „Neun Lieder“ zwischen 1911 und 1914 darüber hinaus im Einzelnen veränderten, ist nicht dokumentiert.
",
+ "Neben Weberns Bestrebungen, eine Auswahl seiner George-Lieder zu drucken, gab es nach der oben genannten Uraufführung von sechs Liedern im Februar 1910 auch immer wieder Pläne zu weiteren Aufführungen. So war für ein Konzert am 24. April 1911 in Wien zunächst auch an nicht näher genannte Lieder Weberns gedacht worden, was aber aus verschiedenen Erwägungen fallen gelassen wurde.46 Im Zusammenhang einer Aufführung der Violinstücke M 161–164 am 29. Juni 1912 in Wien überlegte Webern zeitweise, diese durch „4 Lieder“ zu ersetzen.47 Und für eine von Schönberg im Herbst 1913 aufgeworfene Idee eines gemeinschaftlichen „Kompositionsabends“ von Berg und Webern in Berlin dachte letzterer neben seinen Streichquartettkompositionen M 147–151, M 171–174 und M 178–180 auch an Lieder:
",
+
+ "Weiters von mir Lieder. Am schönsten wäre es[,] wenn die Freund sänge. Glaubst[,] geht das zu machen? Ich möchte ihr die Lieder demnächst schicken. Darf ich mir von Dir die Adresse der Frau Freund erbitten?48
",
+
+ "Tatsächlich stammt eine der überlieferten Quellen von „Dies ist ein Lied“ M 133 (C) aus dem Nachlass der Sängerin Marya Freund, die am 23. Februar 1913 bei der Uraufführung der Gurre-Lieder Schönbergs die Waldtaube gesungen hatte49 und auch beim „Skandalkonzert“ am 31. März desselben Jahres (u. a. mit der Uraufführung von Weberns Sechs Stücken für großes Orchester „op. 4“ [M 152–157]) als Interpretin der – aufgrund des Tumultes nicht zur Aufführung gelangten – Kindertotenlieder von Gustav Mahler vorgesehen war.50 Laut einer archivalischen Notiz gelangte das Autograph „um 1914“ in den Besitz von Freund.51 Zu einer Aufführung durch die Sängerin im geplanten Zusammenhang kam es jedoch nicht: Das Programm des Konzerts wurde zunächst gekürzt,52 der Plan des Kompositionsabends offensichtlich schließlich ganz fallengelassen. Ob Freund dieses Lied oder überhaupt George-Lieder von Webern zu anderen Gelegenheiten gesungen hat, ist nicht bekannt.
",
+ "Zu tatsächlichen Aufführungen von George-Liedern Weberns – nach der Uraufführung von sechs Liedern 1910 – kam es vermutlich erst nach Kriegsende. Diese standen in einem engen Zusammenhang mit der Publikation der Fünf Lieder aus Der siebente Ring von Stefan George op. 3 im Verlag des Vereins für musikalische Privataufführungen (L): In einem Vereinskonzert sang Felicie Hüni-Mihacsek begleitet von Eduard Steuermann am 6. April 1919 zunächst „Vier Lieder Op. 3“, wobei im Vergleich zu den zwei Monate später gedruckten Fünf Liedern op. 3 das dort dritte Lied „An Bachesranft“ M 135 noch fehlte.53 Am 6. Juni 1919 erfolgte dann durch dieselben Ausführenden die Uraufführung der vollständigen Sammlung, deren Partitur beim Konzert auch zum Verkauf auslag.54 Über die Herstellung dieses Drucks ist kaum etwas bekannt,55 eine Stichvorlage [K], die für einige der Lieder neue, in anderen Quellen nicht dokumentierte Textfassungen geboten haben muss, ist nicht überliefert. Die beiden Vereins-Aufführungen im April und Juni dürften auf der Grundlage von handschriftlichen Quellen mit früheren Textfassungen erfolgt sein, oder das verwendete Material ist ebenfalls nicht erhalten.56 Der Druck L war erst einige Tage vor der zweiten Aufführung im Juni fertiggestellt worden57 und enthält folgende Lieder:
",
+
+ "I „Dies ist ein Lied“ M 133 (Textfassung 4)
",
+ "II „Im Windesweben“ M 134 (Textfassung 3)
",
+ "III „An Bachesranft“ M 135 (Textfassung 3)
",
+ "IV „Im Morgentaun“ M 136 (Textfassung 3)
",
+ "V „Kahl reckt der Baum“ M 137 (Textfassung 5)
",
+
+ "Nachdem Webern im August 1920 schließlich einen Vertrag mit der Universal Edition über die Abtretung des Urheberrechts zunächst von op. 1 (Passacaglia M 127), op. 2 („Entflieht auf leichten Kähnen“ M 129), op. 3 (George-Lieder M 133–137) und op. 6 (Orchesterstücke M 152–157) abgeschlossen hatte, wurden die verbliebenen Exemplare der 1919 vom Verein gedruckten Auflage der Fünf Lieder aus Der siebente Ring von Stefan George op. 3 von der Universal Edition übernommen.58
",
+ "Für die Drucklegung der Fünf Lieder nach Gedichten von Stefan George op. 4 ließ Webern eine Abschrift I der in seiner autographen Reinschrift H enthaltenen Textfassungen anfertigen. Wann dies genau geschah, ist unklar, vermutlich in zeitlicher Nähe zum Vertragsabschluss über das Werk im April 1923.59 Der Druck J erschien im August 1923 und enthält folgende Lieder:
",
+
+ "I Eingang („Welt der Gestalten“) M 138 (Textfassung 3)
",
+ "II „Noch zwingt mich Treue“ M 139 (Textfassung 3)
",
+ "III „Ja Heil und Dank dir“ M 140 (Textfassung 2)
",
+ "IV „So ich traurig bin“ M 141 (Textfassung 2)
",
+ "V „Ihr tratet zu dem Herde“ M 142 (Textfassung 3)
",
+
+ "Die Uraufführung der Fünf Lieder nach Gedichten von Stefan George op. 4 erfolgte bereits am 23. November 1923 in Hamburg mit Jenny Jungbauer und Ilse Fromm-Michaels, im Rahmen des von Josef Rufer und Hans Heinz Stuckenschmidt organisierten Konzert-Zyklus „Neue Musik“. Webern war wohl nicht anwesend und auch nicht in die Vorbereitung eingebunden gewesen.60 Eine Aufführung der vollständigen Sammlung von op. 4 in Weberns Anwesenheit fand dagegen erst am 10. Februar 1940 in Basel in einem Konzert der Internationalen Gesellschaft für Neue Musik (im Folgenden: IGNM) mit Maguerite Gradmann-Lüscher und Erich Schmid statt, bei dem diese von Webern auch noch drei aus den Vier Liedern op. 12 sowie Lieder von Schönberg und Berg interpretierten.61
",
+ "Wie bei dieser zuletzt genannten fanden weitere Aufführungen von George-Liedern zu Lebzeiten Weberns häufig in verschiedenen Kombinationen statt, in denen aus den Sammlungen der gedruckten Opera 3 und 4 sowie den Vier Liedern op. 12 ausgewählt wurde. Folgende Aufführungen lassen sich neben den bereits erwähnten von 1910, 1919 (Uraufführung op. 3) und 1923 (Uraufführung op. 4) derzeit nachweisen:
",
+
+ "– 20. November 1922, Prag, Verein für musikalische Privataufführungen, Felicie Hüni-Mihacsek und Eduard Steuermann: Fünf Lieder aus Der siebente Ring von Stefan George op. 3.62
",
+ "– 17. Januar 1925, Paris, Revue musicale, Ruzena Herlinger und Ernst Bachrich: op. 3/1, 3/2, 3/3.63
",
+ "– 26. Oktober 1928, London, Wigmore Hall, Ruzena Herlinger und Eduard Steuermann: op. 3/1, 3/2, 3/5, 12/1 und 12/4.64
",
+ "– 25. Oktober 1929, Brüssel, Palais des Beaux-Arts, Ruzena Herlinger und Stefan Askenase: Lieder aus op. 4 und op. 12.65
",
+ "– 13. April 1931, Wien, Kleiner Musikvereins-Saal, Aenne Michalsky und Eduard Steuermann: op. 4/1, 3/1, 3/2, 3/5, 12/1 und 12/4.66
",
+ "– 18. November 1931, Amsterdam, Berthe Seroen und Phons Dusch: op. 3/1, 3/3, 12/2.67
",
+ "– 2. Dezember 1933, Wien, Kleiner Musikvereins-Saal (Konzert der IGNM zu Weberns 60. Geburtstag), Aenne Michalsky und Eduard Steuermann: Lieder aus op. 3, 4 und 12.68
",
+ "– 17. Dezember 1934, Wien, Ehrbar-Saal, Felicie Hüni-Mihacsek und Eduard Steuermann: Fünf Lieder aus Der siebente Ring von Stefan George op. 3.69
",
+ "– 10. Februar 1940, Basel, Konservatorium (Konzert der IGNM, Ortsgruppe Basel), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf Lieder nach Gedichten von Stefan George op. 4 sowie op. 12/2, 12/4 und 12/1.70
",
+ "– 28. März 1941, Zürich, Zunfthaus „Zur Saffran“ (Konzert der IGNM, Pro Musica, Ortsgruppe Zürich), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf George-Lieder sowie drei Lieder aus op. 12.71
",
+ "– 5. Dezember 1943, Basel, Konservatorium, Marguerite Gradmann-Lüscher und Paul Baumgartner: Fünf Lieder aus Der siebente Ring von Stefan George op. 3.72
",
+
+ "Zu den meisten der Ausführenden hatte Webern persönlichen Kontakt und in einigen Fällen bei der Einstudierung mitgewirkt. In seinem Handexemplar der Fünf Lieder nach Gedichten von Stefan George op. 4 (JH) finden sich verschiedene aufführungsrelevante Eintragungen und Zeitangaben. Ob diese im Zusammenhang mit einer der genannten Aufführungen stehen (möglicherweise mit der Aufführung der gesamten Sammlung 1940 in Basel), ist nicht nachweisbar.
"
+ ],
+ "blockNotes": [
+ "1 | Anton Webern, „Drei frühe Tagebücher“, transkribiert und kommentiert von Barbara Schingnitz, in: Der junge Webern. Texte und Kontexte, hg. von Thomas Ahrend und Matthias Schmidt, Wien: Lafite, 2015 (Webern-Studien 2b), S. 215–324, hier S. 265 (Tagebuch II Bl. 19r–19v). Weberns Vorlage war allerdings nicht Georges Sammlung Das Jahr der Seele (Berlin: Blätter für die Kunst, 1897, S. [21 f.]), sondern ein Zitat aus Ernst von Wolzogens Roman Das dritte Geschlecht (Berlin: Eckstein, [1899], S. 103), wo das Gedicht auf subtile Weise abgeändert erscheint. Vgl. den Kommentar zu Webern, „Drei frühe Tagebücher“, a. a. O., S. 305, sowie Cornelia Bartsch, „‚Bis endlich das Weib vor Weh vergeht…‘ Geschlechtererzählungen des jungen Anton Webern“, in: Der junge Webern. Texte und Kontexte, a. a. O., S. 169–197, insbesondere S. 196 f.
",
+ "2 | So am 11. Februar 1904 sowie am 3. Dezember desselben Jahres. Vgl. Conrad Ansorge 1862–1930. Ein Pianist des Fin de siècle in Berlin und Wien, hg. von Eike Rathgeber, Christian Heitler und Manuela Schwartz, Wien: Böhlau, 2017, S. 421 f. und 425. Zu Weberns Engagement im Wiener Ansorge-Verein vgl. ebd. passim.
",
+ "3 | Stefan George, Das Jahr der Seele, Berlin: Bondi, 31904, S. 14 (Ja heil und dank dir…), 30 (Noch zwingt mich treue…), 118 (Ihr tratet zu dem herde): George_DJdS; Stefan George, Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten, Berlin: Bondi, 31907, S. 74 (So ich traurig bin): George_DBdH; ders., Der siebente Ring, Berlin: Blätter für die Kunst, 1907, S. 126 (Eingang), 157–161 (Dies ist ein lied, Im windes-weben, An baches ranft, Im morgen-taun, Kahl reckt der baum): George_DsR. Weberns Exemplare befinden sich in CH-Bps, Sammlung Anton Webern (PSS AW B 1039–1041).
",
+ "4 | Biographische Zusammenhänge mit Blick auf den Tod von Weberns Mutter 1906 sowie das die meisten der vertonten George-Gedichte durchziehende Trauer-Motiv skizziert Albrecht Dümling, „‚Dies ist ein Lied für dich allein‘. Zu einigen Motiven von Weberns Textwahl“, in: Anton Webern I, hg. von Heinz Klaus Metzger und Rainer Riehn, München: edition text + kritik, 1983 (Musik-Konzepte Sonderband), S. 251–261.
",
+ "5 | Vgl. Arnold Schönberg, Lieder mit Klavierbegleitung, Kritischer Bericht, hg. von Christian Martin Schmidt, Mainz 1989 (Sämtliche Werke Abteilung I Reihe B Band 1/2 Teil 1), S. 171–176 sowie S. 182–217.
",
+ "6 | Webern an Schönberg, 11. Juni 1908 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18181]): „Weil Sie mich gestern gefragt haben wie mir Ihre Lieder gefallen haben: ich konnte nicht recht sagen d. h. zum Ausdruck bringen, welchen Eindruck sie auf mich gemacht haben. Es war sehr blöd, wie ich das gesagt habe. Aber möchten Sie mir glauben, dass Ihr Werk und namentlich diese neuen Lieder mein einziges wunderbares Vorbild sind.“
",
+ "7 | Vgl. Thomas Ahrend, „Zu Anton Weberns George-Vertonung ‚Erwachen aus dem tiefsten Traumesschoße‘. Eine Spurensuche“, in: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2011, hg. von Simone Hohmaier, Mainz: Schott, 2011, S. 53–74, hier S. 66 ff.
",
+ "8 | Webern an Schönberg, 13. Dezember 1908 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21729]).
",
+ "9 | Die Dehmel-Lieder stellte Webern gleichwohl zu späteren Zeitpunkten zu – allerdings nicht publizierten – Sammlungen zusammen. Vgl. Mathew R. Shaftel, „Anton Webern’s Complete Early Songs (1899–1909)“, in: The Anton Webern Collection. Early Vocal Music, hg. von ders., New York: Carl Fischer, 2004, S. iii–xiii, hier S. xiii.
",
+ "10 | Webern an Jalowetz, 25. Mai 1909 (Anton Webern, Briefe an Heinrich Jalowetz, hg. von Ernst Lichtenhahn, Mainz: Schott, 1999 [Veröffentlichungen der Paul Sacher Stiftung 7], S. 129).
",
+ "11 | Webern an Schönberg, 16. Juni 1909 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21801]): „Ich habe bereits ein ganzes Streichquartett geschrieben. Es hat 5 Sätze. […] Diesen Samstag fahre ich mit meinem Vater nach Klagenfurt, um von dort aus ein par [sic] kleine Ausflüge am Wörtersee und in das Gebirge der Karawanken zu machen. Mitte der nächsten Woche bin ich wieder hier. Dann will ich zunächst ein par Lieder schreiben[.] Und dann für Orchester. Ich kann es kaum erwarten.“
",
+ "12 | Webern an Schönberg, 10. Juli 1909 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21731]).
",
+ "13 | Webern an Schönberg, 20. August 1909 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21809]).
",
+ "14 | Vgl. Thomas Ahrend und Michelle Ziegler, „Anton Webern: Dies ist ein Lied M 133. Impuls [Ahrend]: Flüchtige Reinschrift oder sorgfältige Skizze? Überlegungen zu Anton Weberns frühester Niederschrift von Dies ist ein Lied M 133. Respondenz [Ziegler]: Bleistiftglück und Tintenbestimmtheit. Gedanken zu den Schreibstoffen im Kompositionsprozess von Anton Weberns Dies ist ein Lied“, in: Journal of the Arnold Schönberg Center 17 (2020), S. 160–182.
",
+ "15 | [Programm:] „Verein für Kunst und Kultur. Kammermusik- und Liederabend moderner Komponisten, Wien, 8. Februar 1910“, US-NH, Karl Weigl Papers (MSS 73). Digitalisat: https://ark.dasch.swiss/ark:/72163/1/0806/EILT3bp7Sc2m9_8wWrVvsgb.20161121T080801Z. Die in diesem Programm ebenfalls genannten Fünf Gesänge für eine tiefe Stimme von Franz Schreker mit Theo Drill-Orridge und Clemens Kraus [sic, i. e. Clemens Krauss?] entfielen aufgrund einer Verfügung gegen die Sängerin; vgl. r. h., „Feuilleton. Von neuen Tonwerken“, in: Wiener Zeitung, 17. Februar 1910 (Wiener Abendpost), S. 1–2, hier S. 2.
",
+ "16 | Vgl. auch Julius Korngold, „Feuilleton. Musik. (Philharmonisches Konzert. – Konzertverein. – Arnold[-]Schönberg-Abend.), in: Neue Freie Presse, 26. Januar 1910 (Morgenblatt), S. 1–3, hier S. 3: „In den George-Liedern [lies: Schönbergs] […] tritt eine psalmodierende Singstimme den Klängen und Folgen der neuen Schönberg-Grammatik hinzu. Nur daß hier das Wort Mitteilung und Ausdruck schafft, allerdings zu beharrlich in der Richtung pretiöser, krankhaft-sensitiver Stimmungen.“
",
+ "17 | Julius Korngold, „Feuilleton. Novitäten im Konzertsaale“, in: Neue Freie Presse, 16. Februar 1910 (Morgenblatt), S. 1–3, hier S. 1–2. (Mit „Oktave Mirbeaus Maler“ ist wohl der Protagonist aus Octave Mirbeaus Roman Dans le ciel [L’Écho de Paris 1892–1893] gemeint.) Für weitere Besprechungen vgl. auch Richard Specht, „Konzerte“, in: Der Merker 1 (1909/10), Heft 10, S. 437, sowie r. h., „Feuilleton“ (Anm. 15).
",
+ "18 | Beide Blätter befinden sich in CH-Bps, Sammlung Anton Webern. Faksimiles in Ahrend, „Spurensuche“ (Anm. 7), S. 62 f. Die Reihenfolge der Lieder, ohne Rücksicht auf die originale Schreibung der Titel und die Markierungen (siehe unten), wurde bereits von Moldenhauer innerhalb der „Prefatory Note“ zu Anton Webern, Four Stefan George Songs, hg. von Peter Westergaard, New York: Carl Fischer, 1970, S. ii, sowie in Hans und Rosaleen Moldenhauer, Anton von Webern. Chronik seines Lebens und Werkes, Zürich: Atlantis, 1980, S. 104, mitgeteilt. Vgl. auch die Einleitung zu The Anton Webern Collection, hg. von Mathew R. Shaftel, New York: Carl Fischer, 2004, S. xiii, wo auf die Streichungen innerhalb der Liste zu „op. 4“ hingewiesen wird, die Markierungen aber auch nicht erwähnt werden.
",
+ "19 | Unterschiedliche Papiersorten; Schreibstoff: rote Tinte bei „op. 2“, schwarze Tinte bei „op. 4“; überwiegend Kurrentschrift bei „op. 2“, abwechselnd Kurrent und lateinische Buchstaben bei „op. 4“; Nennung der Binnenzyklen der George-Vorlage nur bei „op. 4“.
",
+ "20 | Möglicherweise stellt die Aufnahme von Eingang M 138, „Im Morgentaun“ M 136 und „Kahl reckt der Baum“ M 137 in „op. 2“ einen Hinweis darauf dar, dass die ersten Textfassungen dieser Lieder – unabhängig von ihrem Schriftduktus und der verwendeten Papiersorte – bereits vor Trauer I M 145, mit der die Liste der Lieder in „op. 4“ beginnt, also vor Ende Mai 1909 entstanden sind. Gegen ein solch rein chronologisches Auswahlprinzip der beiden Sammlungen spricht allerdings u. a. die auffällige gleiche Anzahl von zweimal sieben Liedern.
",
+ "21 | Tatsächlich ist der vertikale Schenkel dieses Winkels im Vergleich zu den anderen der längste, also am weitesten über die Zeile hinausreichende: Die Markierung ließe sich ihrer graphischen Form nach durchaus auf beide Zeilen beziehen. Zu möglichen weiteren Interpretationen auch der anderen Markierungen vgl. Ahrend, „Spurensuche“ (Anm. 7), S. 60–66.
",
+ "22 | Vgl. Schönberg an Hertzka, 7. Oktober 1909 (zitiert nach Julia Bungardt, „Einleitung“, in: Anton Webern, Briefwechsel mit der Universal-Edition, hg. von Julia Bungardt, Wien: Lafite, 2020 [Webern-Studien 5], S. 12): „Verehrter Herr Direktor, verabredungsgemäß benachrichtige ich Sie, dass ich mit meinem Schüler Dr. Anton von Webern Sonntag vormittag gegen 1/2 12 Uhr bei Ihnen sein werde[,] um Ihnen meine Klavierstücke und Kompositionen Weberns vorzuführen […].“
",
+ "23 | Vgl. die im gegenteiligen Sinne zu verstehenden Formulierungen bei Moldenhauer, Anton von Webern (Anm. 18), S. 653, zu „Erwachen aus dem tiefsten Traumesschoße“ und Kunfttag I: „[u]rsprünglich für Op. 3 geplant“, sowie zu Trauer I und „Das lockere Saatgefilde“: „[u]rsprünglich für Op. 4 geplant.“
",
+ "24 | Der Zyklus Lieder in Georges Der siebente Ring gliedert sich in einen Vorklang sowie mehrere nummerierte Liedfolgen und Einzelgedichte. Webern ordnet in op. 3 aus der dort ersten Liedfolge „Lieder I–VI“ das erste bis fünfte Lied in der Reihenfolge Georges an. Das sechste Lied, „Kreuz der strasse ..“ wurde von ihm nicht vertont. Die Bezeichnung „(Lieder I–IV)“ nach „An bachesranft….“ in Weberns Liste zu den Sieben Liedern „op. 4“ ist wohl eine Verschreibung für „I–VI“.
",
+ "25 | Vgl. dagegen Robert W. Wason, „A Pitch-Class Motive in Webern’s George Lieder, Op. 3“, in: Webern Studies, hg. von Kathryn Bailey, Cambridge: Cambridge University Press, 1996, S. 111–134, hier S. 133: „[A]fter all, it seems likely that Webern would have set George’s lieder in continuity; moreover, Webern may well have experimented with various orderings later on, after having composed all fourteen songs, only to return to his initial conception for publication.“
",
+ "26 | Webern an Schönberg, 5. Juni 1911 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21863]): „Ich besorge noch schnell selber eine Abschrift meines Quartettes und werde dieses, die Violinstück[e] und ungefähr 10 Lieder einschicken.“ Vgl. auch Moldenhauer, Anton von Webern (Anm. 18), S. 130.
",
+ "27 | Vgl. Webern an Schönberg, 30. September 1911 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21900]): „Der ‚Dreililien‘ Verlag hat mir meine Sachen zurückgeschickt. Sie hätten sich ‚leider‘ nicht dazu entschließen können. Ich werde Sie jetzt an D[r.] Tischer schicken. –“ Vgl. auch Webern an Jalowetz, 23. Oktober 1911 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 168–171, hier S. 169: „[…] Dr Tischer habe ich, auf seine Aufforderung hin (von Schönberg veranlaßt) einiges von mir zum Verlage eingeschickt.“ Moldenhauer, Anton von Webern (Anm. 18), S. 140, und der Kommentar zu Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 172 sprechen von „neun George-Liedern“.
",
+ "28 | Vgl. Webern an Gerhard Tischer (Tischer & Jagenberg), 2. Januar 1912 (Moldenhauer, Anton von Webern [Anm. 18], S. 140): „Es tut mir sehr leid, daß Sie meine Kompositionen nicht in Ihren Verlag aufnehmen.“, sowie Webern an Königer, 11. Januar 1912 (A-Wn, HS 975/7–8): „Dr Tischer hat mir meine Noten wieder zurückgeschickt. Ich bin also zum 3. Male abgewiesen worden.“ Vermutlich zählt Webern hier also das von Schönberg initiierte Treffen mit Hertzka vom 9. Oktober 1909 (siehe oben, Anm. 22) als den ersten Versuch, bei einem Verlag angenommen zu werden.
",
+ "29 | Webern an Königer, 23. November 1911 (A-Wn, HS 975/7–6). Die in der Brief-Passage erwähnte „Skizze“ ist nicht bekannt. Da Webern, soweit ersichtlich, das Lied nicht „neuerdings abgeschrieben“ hat, ist nicht klar, ob die erwähnte Skizze dazu auch tatsächlich existierte. Vgl. auch Stefan Münnich, „Quellenverluste (Deperdita) als methodologischer Unsicherheitsbereich für Editorik und Datenmodellierung am Beispiel von Anton Weberns George-Lied op. 4 Nr. 5“, in: Die Modellierung des Zweifels – Schlüsselideen und -konzepte zur graphbasierten Modellierung von Unsicherheiten, hg. von Andreas Kuczera, Thorsten Wübbena und Thomas Kollatz, Wolfenbüttel: Forschungsverbund Marbach Weimar Wolfenbüttel, 2019 (Zeitschrift für digitale Geisteswissenschaften / Sonderbände 4), Online-Ressource, DOI: 10.17175/sb004_005. Im vorliegenden Kritischen Bericht wurde auf die Hypostasierung dieser möglichen weiteren nicht überlieferten Quelle verzichtet.
",
+ "30 | Webern an Königer, 11. Januar 1912 (A-Wn, HS 975/7–8).
",
+ "31 | Webern an Berg, 25. Januar 1912 (zitiert nach Briefwechsel Anton Webern – Alban Berg, hg. von Simone Hohmaier und Rudolf Stephan [Briefwechsel der Wiener Schule 4], Druck in Vorbereitung): „Ich habe vorgestern die Korrektur meines Liedes[,] das im ‚blauen Reiter‘ erscheint[,] bekommen. Du auch die Deines Liedes? Von Schönberg kommt das neue Lied ‚Herzgewächse‘“.
",
+ "32 | Webern an Schönberg, 13. Juni 1912 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21913]): „Den ‚blauen Reiter‘ habe ich endlich erhalten.“
",
+ "33 | Webern an Berg, 19. Februar 1912 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]). Schönbergs Zweites Streichquartett op. 10 war im Februar 1909 als „Straube-Druck“ erschienen. Mit dem „ersten“ Quartett Weberns sind die Fünf Sätze für Streichquartett M 147–151 gemeint, in Abgrenzung zu den 1911 komponierten Vier Stücken für Streichquartett M 171–174, deren spätere Textfassungen in die Sechs Bagatellen für Streichquartett op. 9 eingegangen sind. Entsprechend grenzen sich die „älteren 6 Orchesterstücke“ M 152–157 von den ebenfalls bereits 1911 komponierten Orchesterstücken M 169–170 ab, die später Teil der Fünf Stücke für Orchester op. 10 wurden.
Vgl. auch Webern an Königer, 20. Februar 1912 (A-Wn, HS 975/7–10). Die Reihenfolge der in diesen Briefen genannten Kompositionen ergibt eine Opuszahlenfolge von Passacaglia (op. 1), „9 Lieder“ (op. 2), Streichquartett (op. 3) und Orchesterstücke (op. 4).
",
+ "34 | Arnold Schönberg, Berliner Tagebuch, hg. von Josef Rufer, Frankfurt am Main: Propyläen, 1974, S. 25 (15. Februar 1912). Vgl. auch ebd., S. 20 (5. Februar 1912): „Weberns ‚Passacaglia‘ angesehen. Wirklich ausgezeichnet. Sehr gut und höchst originell. Webern wird sicher etwas Außerordentliches.“, sowie ebd., S. 27 (17. Februar 1912): „Abends sind Weberns bei uns. Spielen ein sehr schönes Lied von Webern, das die Winternitz seinerzeit gesungen hat. Sehe jetzt erst, wie schön das ist. Ein echtes Lied; und daß die Winternitz es ebenso sinn- und seelenlos gesungen hat wie meine George-Lieder.“
",
+ "35 | Webern an Schönberg, 9. August 1912 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21931]). Zuvor hatte Schönberg Weberns Kompositionen in einem Schreiben an Simrock empfohlen (vgl. Bungardt, „Einleitung“ [Anm. 22], S. 14 f.).
",
+ "36 | Webern an Schönberg, 10. September 1912 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21939]): „[…] heute habe ich von Simrock meine Kompositionen zurückbekommen. Er kann sie nicht veröffentlichen, schreibt er.“
",
+ "37 | Vgl. Webern an Schönberg, 4. Januar 1913 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21970]): „Ich werde demnächst meine Lieder (eine Auswahl) an diesen Verleger schicken. Vielleicht wird doch einmal was draus.“, sowie Webern an Schönberg, 20. Januar 1913 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21975]): „Heute schicke ich endlich an Gadow in Hildburghausen meine Lieder. Ich bin begierig[,] ob was draus wird.“ Zu dem heute kaum bekannten Gadow-Verlag vgl. Rudolf Schmidt, Deutsche Buchhändler. Deutsche Buchdrucker, Band 6, Eberswalde: N. N., 1908, S. 1072: „Der Verlag pflegt neben der Herausgabe der in 7600 Exemplaren verbreiteten ‚Täglichen Nachrichten‘ bezw. des ‚Hildburghäuser Kreisblattes‘ […] in erster Linie den Betrieb von Schulbüchern, Chor-Liedersammlungen und Kalendern. Die Buchdruckerei dient dem Werk-, Akzidenz- und speziell dem Notendruck.“
",
+ "38 | Vgl. Hertzka an Schönberg, 24. Juni 1914 (zitiert nach Bungardt, „Einleitung“ [Anm. 22], S. 24): „Wenn im nächsten Jahre die allgemeinen Verhältnisse besser werden und die Amsterdamer Aufführung der Orchesterstücke (Weberns) oder irgend welche Aufführungen von Webern erfolgt sein werden, so will ich von ihm etwas in die Universal-Edition aufnehmen, weil ich weiss, dass ich Ihnen damit eine Freude mache.“
",
+ "39 | Webern an Jalowetz, 28. Juni 1914 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 311). Vgl. auch Webern an Schönberg, 25. Juni 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18255]): „Ach Gott, das ist herrlich. Ich muß also bis zur zweiten Hälfte des nächsten Jahres warten. Hertzka versprach mir um diese Zeit sicher etwas zu bringen; den Chor und ein Heft Lieder oder die Violinstücke.“
",
+ "40 | Vgl. Bungardt, „Einleitung“ (Anm. 22), S. 25 f.: „[A]ufgrund der neuen Situation verschoben sich die Prioritäten des Verlags, wie die vorhandenen Kapazitäten für erfolgversprechende und ‚zeitgemäße‘ Projekte und Produkte zu nutzen seien: Das waren in erster Linie ‚Kriegsmusik‘ und Musiktheater. Dafür schloss man sowohl 1915 als auch in den folgenden Kriegsjahren durchaus mit ‚für unseren Verlag neuen Komponisten‘ erstmals ab. In den genannten Genres waren Beiträge von Webern aber weder vorhanden noch zu erwarten.“
",
+ "41 | Das moderne Lied. Eine Sammlung von 50 Gesängen für mittlere Stimme, hg. von Josef V. v. Wöss, Wien: Universal Edition, 1915. Vgl. auch Berg an Schönberg, 20. Juli 1914 (zitiert nach Briefwechsel Arnold Schönberg – Alban Berg, hg. von Juliane Brand, Christopher Hailey und Andreas Mayer [Briefwechsel der Wiener Schule 3], Band 1, S. 492): „Jedenfalls wird aber dem Webern um ein Lied geschrieben. Ich denke, daß er eins aus seinen Georgeliedern schicken wird.“
",
+ "42 | Vgl. Webern an Hertzka, 23. Juli 1914 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 87): „Auf Ihre Zuschrift vom 20. Juli hin schicke ich Ihnen 3 Lieder von mir zur Auswahl. Ich hoffe, dass die Lieder kurz genug sind.“ Vgl. auch Webern an Hertzka, 29. September 1914 (ebd., S. 87 f.): „Ich bitte mich wissen zu lassen, ob die zwei Lieder von mir, die ich der Universal-Edition über deren Aufforderung im Juli zur eventuellen Aufnahme in die Sammlung das „moderne Lied“ einsandte, noch benötigt werden. Wenn nicht, bitte ich mir die Lieder ehestens zurückzuschicken. Ich habe keine anderen Exemplare davon.“ Warum Webern hier nur noch zwei, statt drei Lieder erwähnt, ist nicht klar.
",
+ "43 | Vgl. Kalmus an Berg, 27. Juli 1914 (zitiert nach Bungardt, „Einleitung“ [Anm. 22], S. 25): „[…] eine Einschiebung Ihres Liedes (und auch des Liedes von Herrn Dr. v. Webern) [würde] eine Umstellung des ganzen Inhaltes verursachen […], so dass wir die bereits beim Stich befindlichen Sachen ganz anders einteilen müssten […].“
",
+ "44 | Diese Seite erwähnen (ohne auf die Korrektur der Opuszahl hinzuweisen) auch Elmar Budde: Anton Weberns Lieder op. 3. Untersuchungen zur frühen Atonalität bei Webern, Wiesbaden: Steiner, 1971 (Beihefte zum Archiv für Musikwissenschaft 9), S. 13, und Moldenhauer, Anton von Webern (Anm. 18), S. 104. Auf derselben Titelseite findet sich auch noch der mit Bleistift geschriebene und eingerahmte Titel „5 Lieder | op. 4 [korrigiert aus „5“]“, der sich vermutlich auf die 1923 tatsächlich als Opus 4 veröffentlichten Fünf Lieder nach Gedichten von Stefan George bezieht. Die gesamte Seite ist mehrfach gestrichen und Teil des hinteren Blatts eines für die in H ausgeführte Reinschrift der Fünf Lieder op. 4 als Umschlag verwendeten Bogens.
",
+ "45 | Vgl. Webern an Jalowetz, 10. Januar 1915 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 332–334, hier S. 333): „Ich hatte mich die Zeit her mit einer Revision, stellenweiser Umarbeitung, Instrumentationsänderung, Copierung u. s. w. meiner bisherigen Sachen beschäftigt. Jetzt ist, glaub ich, alles in Ordnung, soweit ich es zu beurteilen im Stande bin.“
",
+ "46 | In diesem Konzert wurden schließlich von Webern wieder die Fünf Sätze für Streichquartett M 147–151 gespielt und die Vier Stücke für Geige und Klavier M 161–164 uraufgeführt. Vgl. „Neue Kompositionen von Alban Berg, Karl Horwitz und Anton von Webern“, 24. April 1911, Wien, Ehrbar-Saal. Abdruck des Programms in Alban Berg, Leben und Werk in Daten und Bildern, hg. von Erich Alban Berg, Frankfurt am Main: Insel, 1976, S. 119. Vgl. auch Webern an Berg, 14. April 1911 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Meine Lieder habe ich gar nicht hier; die sind in Berlin bei meiner Frau. Und die ist jetzt im Sanatorium und außer einer Hausmeisterin ist niemand da, der in die Wohnung kann. Und wenn ich nach Wien komme[,] wird es zu spät sein. In 3 Tagen wird dieses Fräulein die Lieder wohl nicht erlernen. So wird es nicht gehn.“ Wer im Vorfeld als mögliche Sängerin vorgeschlagen worden war, ist nicht bekannt.
",
+ "47 | Webern an Berg, 2. Juni 1912 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Ich glaube es gienge ganz gut, an Stelle meiner Violinstücke (falls sie eben nicht möglich sind) 4 Lieder von mir zu machen. […] Ich glaube, das kann ja der Winternitz nur recht sein, wenn sie noch was singt an dem Abend. […] Aber hoffentlich ist das alles hinfällig und Rosé spielt.“
",
+ "48 | Webern an Schönberg, 7. Oktober 1913 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22024]).
",
+ "49 | Vgl. z. B. Neue Freie Presse, 20. Februar 1913, S. 13.
",
+ "50 | Vgl. z. B. „Große Lärmszenen im Musikvereinssaale. Bei einem Arnold[-]Schönberg-Konzert“, in: Neue Freie Presse, 1. April 1913, S. 13.
",
+ "51 | Vgl. das vor Bl. 1 eingelegte Blatt in C: „Le manuscript fut venus à Marya Freund vers 1914.“ Falls diese Datierung stimmt, wäre sie auch ein Terminus ante quem für die Erarbeitung von Textfassung 3 des Liedes in C und der entsprechenden Korrekturschicht von F. Die Notiz stammt vermutlich von Freunds Sohn, Dodo Conrad („D. C.“).
",
+ "52 | Vgl. Webern an Schönberg, 12. Oktober 1913 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22025]): „Das Programm werden wir kürzen. Etwa ohne Gesangssachen.“
",
+ "53 | Verein für musikalische Privataufführungen in Wien, „Mitteilungen Nr. 5“, 16. März 1919 (A-Was, Resource ID 4957), S. 2 und 7 (Programm-Nummer 45): „Vier Lieder Op. 3 aus ‚Der siebente Ring‘ von Stefan George“. Über den Grund der Auslassung des späteren dritten Liedes ist nichts bekannt: Möglicherweise umfasste Weberns Konzeption der Sammlung zu diesem Zeitpunkt tatsächlich nur vier Lieder, die er dann für die wiederholte Aufführung und den – erst zu diesem Zeitpunkt anvisierten? – Druck änderte.
",
+ "54 | Vgl. Gottfried Kassowitz an Berg, 7. Juni 1919 (A-Wn, F21.Berg.920/15 Mus Mag): „Die Aufführung der Webern-Lieder war wieder ganz wundervoll […]. […] Hätte ich Ihnen die Webern-Lieder senden sollen? […] Dieselben lagen gestern pünktlich zur Aufführung zum Verkauf aus u. sind dieselben sowohl was den überaus deutlichen u. schönen Stich, als auch die sonstige sehr schöne äußere Ausstattung betrifft sehr gut herausgegeben.“ Vgl. auch Berg an Webern, 18. Juni 1919 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Die gestochenen Lieder hab’ ich nun endlich auch! Sie sind sehr schön ausgefallen. Ich freu mich sehr darüber. Diese Lieder u. Pierrot sind nun die einzigen Noten, die ich hier habe.“
",
+ "55 | Vgl. Bungardt, „Einleitung“ (Anm. 22), S. 26: „[D]ie Lieder […] waren auf Initiative Schönbergs und auf Kosten des Vereins bei Waldheim-Eberle gestochen und gedruckt worden.“
",
+ "56 | Auf eine Aufnahme dieser möglicherweise nicht überlieferten Quellen in die Quellenübersicht des vorliegenden Kritischen Berichts wurde verzichtet.
",
+ "57 | Das Widmungsexemplar der Publikation an Schönberg (A-Was, PM_Lg14) ist mit „4. VI. 1919 Mödling“, also zwei Tage vor der vollständigen Aufführung im Verein datiert. Die Widmung lautet: „Liebster Freund, daß ich diese Lieder geschrieben habe, daß sie gesungen wurden und schließlich auch gestochen: Das alles verdanke ich Dir. Meinen Dank dafür auszudrücken[,] vermag ich nur so: nimm wieder die Versicherung meiner immerwährenden Treue und Ergebenheit entgegen. Dein Webern“
",
+ "58 | Vgl. Bungardt, „Einleitung“ (Anm. 22), S. 26 und 30, sowie Webern, Briefwechsel mit der Universal-Edition (Anm. 22), Anhang, S. 336 f. Für diese von der Universal Edition übernommenen 137 Exemplare wurde die Verlagsangabe durch eine aktualisierte überklebt. Eine zweite im Sommer 1923 erschienene Auflage der Universal Edition (M) weist (wie auch alle späteren postumen Auflagen) dasselbe Stichbild der Notenseiten auf.
",
+ "59 | Webern, Briefwechsel mit der Universal-Edition (Anm. 22), Anhang, S. 336 f.
",
+ "60 | Vgl. ein überliefertes Konzertprogramm in A-Was: CP 5580. Vgl. auch den Brief Rufers an Schönberg vom 2. Dezember 1923 (US-Wc [ztitiert nach Digitalisat in A-Was: ID 15189]): „[L]eider hatte Frl. Jungbauer bei den Webernliedern solches Lampenfieber, daß die ersten 3 Lieder ganz mißlangen, obzwar wir sie 1 Stunde vor der Aufführung nochmals durchsangen u. Alles ganz tadellos war!!“
",
+ "61 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 476 f. Vgl. auch Erich Schmid, Lebenserinnerungen, Band 3: Konzertprogramme und Radioaufnahmen, hg. von Lukas Näf unter Mitarbeit von Othmar Wüthrich, Bern: Peter Lang, 2014, S. 48.
",
+ "62 | Vgl. Ivan Vojtěch, „Die Konzerte des Prager Vereins“, in: Schönbergs Verein für musikalische Privataufführungen, hg. von Horst Weber, München: edition text + kritik, 1984, S. 115–118, hier S. 115.
",
+ "63 | Vgl. Webern an Hertzka, 21. März 1925 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 106 f., hier S. 107): „[…] Frau Herlinger sang Lieder von mir“, sowie den Kommentar der Herausgeberin.
",
+ "64 | Vgl. Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936. Shaping a Nation’s Tastes, Cambridge: Cambridge University Press, 1999 (Music in the Twentieth Century 10), S. 345.
",
+ "65 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 240.
",
+ "66 | Vgl. das Faksimile des Programms in Moldenhauer, Anton von Webern (Anm. 18), S. 325.
",
+ "67 | Vgl. Universal Edition (Erwin Stein) an Webern, 18. November 1931 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 171 f., hier S. 171): „[…] Amsterdam führte Deine 4 Lieder op. 12 und 2 Lieder aus op. 3 (welche konnte ich bis jetzt nicht erfahren) am 18. ds. auf“, sowie den Kommentar der Herausgeberin.
",
+ "68 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 364.
",
+ "69 | Vgl. Webern an Hildegard Jone, 10. Dezember 1934 (A-Wn, HS 431/1–143): „Montag, d. 17. singt in einem Konzert des Vereines f. neue Musik […] Fr. Mihascek [sic] […] meine Lieder op. 3; (es sind fünf); Steuermann begleitet. Fr. Mihascek [sic] hat seinerzeit als erste das erwähnte Lieder-opus vollständig gesungen. Ich denke, sie wird’s wieder schön machen.“ Vgl. auch [Paul Stefan], „Konzert-Tagebuch“, in: Die Stunde, 19. Dezember 1934, S. 4. Vgl. auch Moldenhauer, Anton von Webern (Anm. 18), S. 379.
",
+ "70 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 476 f. Vgl. auch Schmid, Lebenserinnerungen, Band 3 (Anm. 61), S. 48.
",
+ "71 | Vgl. Erich Schmid, Lebenserinnerungen, Band 1: Autobiographie, hg. von Lukas Näf, Bern: Peter Lang, 2014, S. 327, sowie ebd., Band 3 (Anm. 61), S. 53 f. Sehr wahrscheinlich handelte es sich um die gleiche Auswahl an Webern-Liedern wie am 10. Februar 1940 in Basel mit denselben Ausführenden.
",
+ "72 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 502 f. Im selben Konzert fand auch die Uraufführung der Drei Gesänge op. 23 durch die beiden genannten Ausführenden statt.
"
+ ]
+ },
+ {
+ "blockId": "op12",
+ "blockHeader": "Vier Lieder op. 12",
+ "blockContent": [
+ "Die Entstehungsdaten der einzelnen Verlaufsskizzen zu den Vier Liedern op. 12 gruppieren sich in zwei deutlich voneinander getrennte Phasen: Anfang 1915 komponierte Webern zuerst „Der Tag ist vergangen“ M 212 und „Schien mir’s, als ich sah die Sonne“ M 213; im Frühjahr 1917 entstanden Gleich und Gleich M 216 und Die geheimnisvolle Flöte M 217. Beide Zeiträume fallen in eine von ca. 1914 bis Mitte der 1920er Jahre anzusetzende Schaffensperiode, die durch eine Konzentration Weberns auf Vokalkompositionen, insbesondere für Solo-Singstimme mit Ensemblebegleitung geprägt war, von denen die meisten ab 1924 in den Opera 13–19 publiziert wurden (vgl. AWG I/4). Die Vier Lieder op. 12 sind entstehungsgeschichtlich auch in diesem Kontext zu sehen. Die vorliegende Edition ordnet sie mit Blick auf ihre Besetzung für Singstimme und Klavier der Abteilung AWG I/5 zu.
",
+ "Die zeitliche Lücke von über zwei Jahren bei der Komposition der Lieder aus op. 12 hängt zusammen mit einer einschneidenden historischen Zäsur: Der Ausbruch des Ersten Weltkriegs Ende Juli 1914 bedeutete auch für Webern eine Umstellung aller seiner bisherigen Planungen. Nach wiederholten gesundheitlichen Problemen während seiner Engagements als Dirigent an verschiedenen Theatern seit 1909 hatte Webern von August bis Oktober 1913 Therapiesitzungen bei dem Psychoanalytiker Alfred Adler besucht, in deren Anschluss er sich wieder in der Verfassung fühlte, Kapellmeister-Tätigkeiten zu übernehmen. Eine entsprechende Stelle in Stettin (heute Szczecin in Polen) hatte er für Sommer 1914 angenommen, die Verpflichtung wurde aber kriegsbedingt wieder aufgelöst. Stattdessen bemühte sich Webern nun in seiner ersten Begeisterung für das Kriegsgeschehen um eine militärische Einberufung, wurde jedoch auf Grund seines Alters und Gesundheitszustandes erst im November 1914 gemustert und im Februar 1915 im Rahmen einer „Einjährigen“-Schulung zunächst in Klagenfurt und Görz (Gorizia) stationiert.73 Abgesehen von kürzeren Unterbrechungen leistete Webern in der Folge Militärdienst bis Ende 1916.
",
+ "Die beiden im Januar 1915 komponierten Klavierlieder sind Weberns erste nach Kriegsanfang abgeschlossenen Kompositionen und die einzigen, die vor seiner Stationierung entstanden. Nachdem Webern bereits Mitte Dezember 1914 an Heinrich Jalowetz geschrieben hatte, dass er „wieder mit etwas begonnen“ habe,74 berichtete er ihm erneut am 10. Januar – wenige Tage vor der Datierung der Verlaufsskizze von „Der Tag ist vergangen“ M 212 in A (13. Januar 1915) – von der anhaltenden produktiven Phase: „Ich schreibe nun wieder neues, d. h. mach mich eigentlich erst daran.“75
",
+ "Der Text zu „Der Tag ist vergangen“ M 212 stammt aus Peter Roseggers Roman Peter Mayr, der Wirt an der Mahr. Eine Geschichte aus deutscher Heldenzeit.76 Das Buch handelt von einer historischen Figur der sogenannten Tiroler Freiheitskämpfe nach 1805, deren Gewissensnöte zwischen sozial und religiös fundierter Friedenssehnsucht einerseits sowie politisch-nationalen Emanzipationsbestrebungen andererseits als heiligenähnliches Martyrium dargestellt werden. Webern hatte das Buch Anfang 1915 gelesen, wie aus einem Brief an Arnold Schönberg vom 9. Januar hervorgeht, in dem er eine längere Passage über ein darin beschriebenes religiöses Offenbarungserlebnis zitiert.77 Der Autor Rosegger spielte für Webern aber bereits seit spätestens 1912 eine große Rolle, wie insbesondere aus zahlreichen Erwähnungen in Briefen an Alban Berg und Schönberg deutlich wird.78 Neben Weberns Interesse an der religiösen Sphäre des Buches dürfte auch dessen nationalistischer Tenor seiner eigenen Kriegseuphorie in dieser Zeit entsprochen haben. In dem zweistrophigen (in älteren Ausgaben des Romans: auch vierstrophigen) Text verwendet Rosegger Formulierungen volkstümlich überlieferter Kirchenfahrt-Lieder79 und bettet ihn in die abendliche Szene einer als Massenwallfahrt getarnten militärischen Widerstandsaktion ein, in der einige Pilger die „schwermütigen Töne dieses Liedes“ mit „hellen Stimmen“ singen.
",
+ "Vermutlich entstand die Reinschrift der Textfassung 1 von „Der Tag ist vergangen“ M 212 in B in zeitlicher Nähe zur datierten Verlaufsskizze. Wann genau die Überarbeitung in A und B sowie die daraus resultierende Niederschrift von Textfassung 2 in C erfolgte, ist nicht zu eruieren. Immerhin deutet die sowohl in B als auch in C für den vertonten Text verwendete rote Tinte sowie die Kurrentschrift auf einen ähnlichen Zeitraum, vermutlich noch vor Weberns Stationierung in Klagenfurt. Textfassung 2 diente jedenfalls als Vorlage für den Einzelabdruck von „Der Tag ist vergangen“ M 212 in den Musikblättern des Anbruch im Mai 1922 (E).80 Für die Publikation in der 1925 erschienenen Sammlung Vier Lieder op. 12 (G) erstellte Webern eine eigene Vorlage (Textfassung 3 in F). Webern verzichtete (wie bei vielen anderen seiner Kompositionen auf Texte Roseggers) in allen Niederschriften und Abdrucken dieses Liedes auf eine Angabe des Textautors. In den Vier Liedern op. 12 weist er es als „Volkslied“ aus.
",
+ "In einem Brief an Schönberg vom 21. Januar 1915 berichtet Webern über die Fertigstellung eines „Klavierliedes“ (also vermutlich „Der Tag ist vergangen“ M 212) und erwähnt, dass er zwei weitere Lieder „angefangen“ habe.81 Eines davon dürfte „Schien mir’s, als ich sah die Sonne“ M 213 gewesen sein, dessen Verlaufsskizze in A mit dem 31. Januar 1915 datiert ist. (Bei dem zweiten Lied handelt es sich vermutlich um das nicht vollendete Trakl-Lied „In der Heimat“ M 214.)
",
+ "Der Text von „Schien mir’s, als ich sah die Sonne“ M 213 stammt aus August Strindbergs Stück Gespenstersonate (schwedischer Originaltitel: Spöksonaten). In Weberns Bibliothek hat sich ein Exemplar der deutschen Übersetzung durch Emil Schering erhalten, das mit dem autographen Datumseintrag „2. VII[.] 09.“ (Wilhelmine Mörtls 23. Geburtstag) versehen ist.82 Webern hatte Strindbergs Werke für sich bereits 1908 entdeckt, und der schwedische Autor spielte seitdem sowohl in der Kommunikation mit Schönberg als auch mit Berg eine entscheidende Rolle.83 Das Gedicht erscheint im Dramentext der genannten Ausgabe zweimal als Lied, am Ende des zweiten sowie kurz vor dem Ende des dritten und letzten Akts, in dem die (tödliche) Aussprache zwischen dem „Studenten“ und dem „Fräulein“ erfolgt. Das Lied wird vom Studenten vorgetragen, der beim ersten Mal vom Fräulein „auf einer Harfe“ begleitet wird; beim zweiten Mal, nach dem Tod des Fräuleins, „säuselt [es] in den Saiten der Harfe“.
",
+ "In einer kurzen Skizze für Frauen- und Kinderchor („Schien mir’s, als ich sah die Sonne“ M 198), die von Webern vermutlich nachträglich mit „Winter 1913/1914“ datiert wurde, hatte der Komponist bereits schon einmal eine Vertonung des Texts begonnen, die allerdings nicht über die erste Zeile hinauskam. Die auf der Grundlage der Verlaufsskizze in A erfolgte Niederschrift des Klavierliedes „Schien mir’s als ich sah die Sonne“ M 213 in C weist zahlreiche Überarbeitungsspuren auf, deren Zustand ante correcturam jedoch nicht eindeutig zu bestimmen ist. Die Verwendung von Kurrentschrift sowie der gleichen roten Tinte für den vertonten Text wie in den Niederschriften von „Der Tag ist vergangen“ M 212 in B und C deutet auf eine gewisse zeitliche Nähe der Grundschicht auch von „Schien mir’s als ich sah die Sonne“ M 213 zu diesen hin: möglicherweise entstand es also ebenfalls vor der Stationierung Weberns in Klagenfurt im Februar 1915.
",
+ "Aus Weberns Militärzeit 1915 und 1916 sind keine Kompositionsversuche überliefert. Im Januar 1917 schreibt er an Jalowetz:
",
+
+ "Ich erhole mich jetzt allmählich von den 2 Jahren – geistig. Jetzt erst spüre ich so recht die Wirkung. Langsam knüpfe ich wieder an, finde mich zu recht. Allmählich fällt mir wieder ein, was ich früher gedacht hatte, wo ich stehn geblieben war.84
",
+
+ "Weberns erste vollendete Komposition nach der zweijährigen Militärzeit ist Gleich und Gleich M 216, dessen Verlaufsskizze in A mit dem 31. März 1917 datiert ist. Nach dem 1903 komponierten Klavierlied Blumengruß M 2085 handelt es sich hier um die zweite Goethe-Vertonung Weberns überhaupt. Eine eingehendere Rezeption dieses Dichters durch Webern vor 1917 ist nicht dokumentiert, auch wenn sich Erwähnungen zur Lektüre sporadisch finden.86 Laut seinem eigenhändigen in den 1910er Jahren begonnenen Bücher- und Notenverzeichnis besaß Webern die folgende Ausgabe: Sämtliche Werke. Jubiläumsausgabe in 40 Bänden, Stuttgart und Berlin: Cotta, [1902–1912].87 Weitere Spuren einer kompositorischen Auseinandersetzung mit Goethe-Texten in diesem zeitlichen Umfeld finden sich in zwei weiteren Skizzen bzw. Fragmenten von 1917 (Gegenwart für Gesang [Bariton?] und Klavier M 220) und 1918 (Cirrus für Gesang und Orchester M 235).88
",
+ "Die Niederschrift der Textfassung 1 von Gleich und Gleich M 216 in C ist vermutlich in zeitlicher Nähe zur Verlaufsskizze entstanden. Sie weist Änderungen im Sinne von Textfassung 2 in F auf, die für die Druckfassung von 1925 erarbeitet wurde. Eine weitere, nicht überarbeitete Niederschrift von Textfassung 1 in D ist u. a. aufgrund der verwendeten lateinischen Schrift für den vertonten Text chronologisch nach C einzuordnen. Über den genauen Zeitpunkt und die Funktion dieser Niederschrift ist nichts bekannt. Die Bezeichnung als „op. 12“ im Titel deutet auf ein Datum frühestens nach April 1920 hin (siehe unten).
",
+ "In einem seiner späteren Vorträge „Wege zur neuen Musik“ von Anfang 1932 erwähnt Webern die Einleitungstakte von Gleich und Gleich M 216 als ein Beispiel für die bereits intuitiv erfassten Prinzipien der späteren Zwölftonkomposition, da in jenen alle zwölf Tonhöhenklassen der chromatischen Skala präsentiert werden: „Das Gesetz war uns damals noch nicht bewußt, aber es war längst gefühlt.“89 Seine nächsten vollendeten Goethe-Vertonungen, die Zwei Lieder op. 19, stammen erst von 1925/26. Diese gehören zu seinen ersten ausdrücklichen Zwölftonkompositionen und sind gleichzeitig seine letzten vollendeten auf Texte Goethes.
",
+ "Die Verlaufsskizze in A von Die geheimnisvolle Flöte M 217 ist mit dem 10. April 1917 datiert, schließt zeitlich also unmittelbar an die Beendigung von Gleich und Gleich M 216 an. (In Briefen an Berg, Jalowetz oder Schönberg aus dieser Zeit erwähnt Webern keine dieser beiden Arbeiten.) Der vertonte Text von Die geheimnisvolle Flöte ist eine freie Nachdichtung eines Gedichts des chinesischen Autors Li Tai-po (lies: Li Bai) aus Hans Bethges zuerst 1907 erschienener Sammlung Die chinesische Flöte. Das in Weberns Nachlass erhaltene Exemplar der vierten Auflage des Buches weist den autographen Datumseintrag „3. 12. 12.“ (sein 29. Geburtstag) auf der Rückseite des vorderen Einbanddeckels auf.90 Einige Gedichte dieser Sammlung waren Webern spätestens bereits ein Jahr zuvor als Vorlage von Gustav Mahlers&ngsp;Lied von der Erde bekannt geworden, dessen Uraufführung er am 20. November 1911 in München beigewohnt hatte.91 Er selbst hatte aus Die chinesische Flöte bereits im Februar 1914 das Orchesterlied Die Einsame M 199 komponiert; im Juli 1917 folgte In der Fremde M 223. Diese beiden Lieder wurden später in die Vier Lieder für Gesang und Orchester op. 13 eingegliedert. Darüber hinaus sind zwei weitere unvollendete Entwürfe Weberns auf Texte aus Die Chinesische Flöte überliefert: Nächtliches Bild M 233 (Herbst 1918) und Der Frühlingsregen M 244 (vermutlich 1920).
",
+ "Die Grundschicht der Niederschrift von Die geheimnisvolle Flöte M 217 in C (Textfassung „0“) lässt sich nicht mehr eindeutig entziffern. Sie dürfte aber, wie im Falle von Gleich und Gleich M 216 in C, in zeitlicher Nähe zur Verlaufsskizze entstanden sein und weist Änderungen mit Tinte und Bleistift auf. Zusammen mit einem ebenfalls nicht mehr eindeutig zu eruierenden Zwischenstadium erfolgten diese möglicherweise bereits im Sinne von Textfassung 1 in F, die für die Druckfassung von 1925 erarbeitet wurde.
",
+ "Die Zusammenstellung der vier Klavierlieder zu einer mit Opuszahl versehenen Sammlung erfolgte spätestens 1920, als Webern in einer vermutlich nach April dieses Jahres für die Universal Edition angefertigten Werkliste auch „4 Klavierlieder“ als „op. 10“ anführt.92 Diese Opuszahl entspricht einer getilgten Zählung auf dem Umschlagblatt von Quelle C, wo sie später zu „op. 12“ korrigiert wurde.93 Diese in Abhängigkeit zur Zählung anderer Werke vorgenommene Änderung erfolgte spätestens Anfang 1921: In einem im Februar erschienenen Artikel von Egon Wellesz werden die Lieder explizit als „opus 12“ angesprochen.94 Die in dieser Publikation enthaltenen Notenbeispiele sind auf der Grundlage von Textfassung 2 von „Der Tag ist vergangen“ M 212 bzw. Textfassung 1 von Gleich und Gleich M 216 angefertigt worden, also vermutlich mit C oder (im Falle von M 216:) D im entsprechenden Korrekturstadium als Vorlage. Im Mai 1922 erschien Textfassung 2 von „Der Tag ist vergangen“ M 212 separat (aber mit Hinweis auf die Zugehörigkeit zu op. 12) als Notenbeilage in den Musikblättern des Anbruch (E). Webern überarbeitete „Der Tag ist vergangen“ M 212 in seinem Handexemplar EH zu Textfassung 3 und Gleich und Gleich M 216 in C zu Textfassung 2. Bis spätestens zum Jahreswechsel 1924/25 erstellte er eine Stichvorlage F der Vier Lieder op. 12, die er in einem Brief an den Direktor der Universal Edition, Emil Hertzka, vom 3. Januar 1925 als eine seiner Arbeiten, die er „derzeit im ‚Vorrat‘ habe“, dem Verlag anbot und offensichtlich kurz darauf übergab.95 Am 12. Juni desselben Jahres sandte er die imprimierte zweite Korrektur des Stiches an den Verlag, am 20. Juni das imprimierte Titelblatt.96 Der Druck G der Vier Lieder op. 12 erschien am 30. September 1925 in einer Auflage von 499 Exemplaren.97
",
+ "Eine begeisterte Reaktion erhielt Webern von Alban Berg, der ihm wenige Tage nach dem Erscheinen der Lieder schrieb:
",
+
+ "Was für eine große Freude hast Du mir, mein Lieber, mit Deinem Op. 12 gemacht! Das ist wiederum – so wie ja alles von Dir – ein echter Webern. Schon die Zusammenstellung der wundervollen Texte u. die Zusammenziehung zu einem&ngsp;Ganzen! Und gar erst die Musik! Ja es erscheint mir, als sähe ich Dich auf ganz neue Weise. Welch ein Ton in dem Strindberg-lied. Und überhaupt welch eine Vielfalt in den 4 Liedern. Das letzte z. Bsp[.]: eine solche Anmuth. Man kann ruhig sagen: die findet sich sonst in der ganzen Musikliteratur nicht wieder –; so ein Lied von Dir ist für mich geradezu ein Freudenspender, ein Spender einer mein ganzes Sein überstrahlenden Freude. Wie wenn an trüben Tagen plötzlich die Sonne hervorbricht u. man gar nicht weiß, warum man plötzlich froh wird.98
",
+
+ "Die Uraufführung des gesamten Opus 12 fand am 8. Januar 1927 im kleinen Saal des Musikvereins Wien mit der niederländischen Sängerin Co van Geuns und Eduard Steuermann am Klavier statt. Im selben Konzert wurde Alban Bergs Lyrische Suite durch das Wiener Streichquartett (Kolisch-Quartett) uraufgeführt sowie Johann Sebastian Bachs Konzert für vier Klaviere BWV 1065 unter Weberns Dirigat gespielt.99 Zur Uraufführung seiner Lieder schrieb Webern an Schönberg einige Tage später lapidar: „Am selben Abend wie das Quartett Bergs wurde auch ein Lieder-Opus von mir uraufgeführt. Das gelang sehr gut.“100 Auch in einer positiven Besprechung des Konzerts der Arbeiter-Zeitung steht die Komposition Bergs im Vordergrund, über die Vier Lieder op. 12 heißt es vergleichsweise kurz:
",
+
+ "Viel Erfolg hatten auch neue Lieder von Anton W e b e r n , die Co van G e u n s , von Eduard S t e u e r m a n n am Klavier geleitet, mit hervorragender Musikalität vortrug. Hier sind kurze lyrische Gedichte in Tonformen gepreßt, deren Zusammensetzung dem unbefangenen Hörer nicht klar sein kann. Er muß sich also an die Ausdruckswerte halten, die reichlich zu finden sind, auch wenn es durch die merkwürdige Führung der Gesangstimme schwer ist, ihr immer zu folgen. Die Lieder wurden wiederholt und dadurch leichter verständlich gemacht.101
",
+
+ "Laut einem Tagebucheintrag Weberns war Gleich und Gleich M 216 bereits im Oktober 1926 von einer holl.[ändischen] Sängerin“ gesungen worden,102 vermutlich ebenfalls von van Geuns, die einige Zeit nach der Uraufführung der Vier Lieder op. 12 Anfang Januar 1927 auch in Köln mit Liedern von Webern (also wahrscheinlich auch aus op. 12) und von Alexander Zemlinsky auftrat.103 Wie bei den George-Liedern wurde bei mehreren Aufführungen zu Weberns Lebzeiten (und wohl mit dessen Einverständnis bzw. auf seine Anregung hin) wiederholt nur eine Auswahl der Vier Lieder op. 12 gesungen bzw. wurden einzelne Lieder mit solchen aus den George-Liedern op. 3 und op. 4 kombiniert. Nachweisbar sind, neben den erwähnten Aufführungen mit van Geuns, Konzerte an folgenden Daten:
",
+
+ "– 26. Oktober 1928, London, Wigmore Hall, Ruzena Herlinger und Eduard Steuermann: op. 3/1, 3/2, 3/5, 12/1 und 12/4.104
",
+ "– 25. Oktober 1929, Brüssel, Palais des Beaux-Arts, Ruzena Herlinger und Stefan Askenase: Lieder aus op. 4 und op. 12.105
",
+ "– 13. April 1931, Wien, Kleiner Musikvereins-Saal, Aenne Michalsky und Eduard Steuermann: op. 4/1, 3/1, 3/2, 3/5, 12/1 und 12/4.106
",
+ "– 18. November 1931, Amsterdam, Berthe Seroen und Phons Dusch: op. 3/1, 3/3, 12/2.107
",
+ "– 2. Dezember 1933, Wien, Kleiner Musikvereins-Saal (Konzert der IGNM zu Weberns 60. Geburtstag), Aenne Michalsky und Eduard Steuermann: Lieder aus op. 3, 4 und 12.108
",
+ "– 9. Mai 1935, Wien, Musikverein (Konzert der Hertzka-Gedächtnis-Stiftung), Julia Nessy (Gesang): Vier Lieder op. 12.109
",
+ "– 21. November 1935, Wien, Hagenbund (Konzert des Vereins für neue Musik), Julia Nessy (Gesang): Vier Lieder op. 12.110
",
+ "– 10. Februar 1940, Basel, Konservatorium (Konzert der IGNM, Ortsgruppe Basel), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf Lieder nach Gedichten von Stefan George op. 4 sowie op. 12/2, 12/4 und 12/1.111
",
+ "– 28. März 1941, Zürich, Zunfthaus „Zur Saffran“ (Konzert der IGNM, Pro Musica, Ortsgruppe Zürich), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf George-Lieder sowie drei Lieder aus op. 12.112
",
+
+ "Zu den meisten der Ausführenden hatte Webern persönlichen Kontakt und in einigen Fällen bei der Einstudierung mitgewirkt. In seinem Handexemplar der Vier Lieder op. 12 (GH) finden sich verschiedene Zeitangaben zu den einzelnen Liedern. Ob diese im Zusammenhang mit einer der genannten Aufführungen stehen, ist nicht nachweisbar.
"
+ ],
+ "blockNotes": [
+ "73 | Zu diesen und den im weiteren Kriegsverlauf folgenden biographischen Stationen vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 157–170 und 189–201.
",
+ "74 | Webern an Jalowetz, 18. Dezember 1914 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 329 f., hier S. 329). Möglicherweise bezieht sich Weberns Bemerkung auf einige Fragmente, die in Moldenhauers „Werkverzeichnis“ numerisch unmittelbar vor „Der Tag ist vergangen“ M 212 eingeordnet und dort auf „1914“ bzw. „1914 oder später“ datiert wurden, d. h. M 207–211. Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 642 und 660.
",
+ "75 | Webern an Jalowetz, 10. Januar 1915 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 332 f., hier S. 333).
",
+ "76 | Erstdruck Wien: A. Hartleben, 1891. Webern benutzte vermutlich die überarbeitete Fassung des Romans in den „Gesammelten Werken“ Roseggers, Bd. 19, Leipzig: Staackmann, 1914, S. 214 („Der Tag ist vergangen …“): Rosegger_PM. Vgl. Elisabeth Kaiser, Rosegger-Rezeption bei Anton Webern, Frankfurt am Main: Peter Lang, 2013, S. 77.
",
+ "77 | Webern an Schönberg, 9. Januar 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18237]).
",
+ "78 | Für eine Übersicht der nachgewiesenen Rosegger-Lektüren Weberns vgl. Kaiser, Rosegger-Rezeption (Anm. 76), S. 38–41. Am 3. September 1914 schrieb Webern begeistert an Berg, dass er den Schriftsteller auf einer Zugfahrt von Klagenfurt nach Wien gesehen habe (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Ich habe in Krieglach den Rosegger gesehn (auf der Rückfahrt)[.] Wunderbar. Er fuhr eine Station im selben Zug: nach Langenwang.“
",
+ "79 | Vgl. Kaiser, Rosegger-Rezeption (Anm. 76), S. 76 f.
",
+ "80 | Zu dem Lied heißt es im Textteil der Zeitschrift (N. N., „Anton v. Webern“, in: Musikblätter des Anbruch 4/9–10 [Mai 1922], S. 150): „Unsere Notenbeilage vermittelt einen Einblick in das Wesen seiner neuen Kompositionen.“ Die Notenbeilage datiert das Lied gleichwohl richtig auf 1915, also immerhin sieben Jahre zuvor.
",
+ "81 | Webern an Schönberg, 21. Januar 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18240]).
",
+ "82 | August Strindberg, Gespenstersonate, in: ders., Kammerspiele, verdeutscht von Emil Schering, München und Leipzig: Georg Müller, 1908 (Strindbergs Werke. Deutsche Gesamtausgabe unter Mitwirkung von Emil Schering als Übersetzer, vom Dichter selbst veranstaltet. I. Abteilung: Dramen. Kammerspiele [Band 9]), [Heft 3], S. 46[c] („Schien mirs, als ich sah die Sonne!“): Strindberg_Gs. Weberns Exemplar in CH-Bps, Sammlung Anton Webern, trägt die Signatur AW B 1129. Der handschriftliche Datumseintrag findet sich auf S. [6].
",
+ "83 | Zum „Einfluß Strindbergs“ auf Webern vgl. Ernst Lichtenhahn, „Einleitung“, in: Webern, Briefe an Heinrich Jalowetz (Anm. 10), S. 9–108, hier S. 80–88.
",
+ "84 | Webern an Jalowetz, 28. Januar 1917 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 355).
",
+ "85 | In Hans und Rosaleen Moldenhauer, Anton von Webern. A Chronicle of His Life and Work, New York: Alfred A. Knopf, 1979, S. 700 und 720, wird Blumengruß als „M 21“ gezählt.
",
+ "86 | Vgl. z. B. Webern an Berg, 21. Dezember 1911 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]: „Ich lese „Wilhelm Meister“ und bin aufs höchste beglückt über dieses Buch.“
",
+ "87 | Gleich und Gleich findet sich in Bd. 1, Gedichte. Erster Teil, S. 19: Goethe_JA. Exemplare Weberns dieser Ausgabe sind nicht überliefert. Das Verzeichnis findet sich in CH-Bps, Sammlung Anton Webern.
",
+ "88 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 250. Die Zusammenstellung der beiden Kompositionen zu „Zwei Goethe-Lieder“ (ebd. S. 661) ist eine Setzung Moldenhauers und nicht durch die Quellen selbst dokumentiert.
",
+ "89 | Anton Webern, Wege zur neuen Musik, hg. von Willi Reich, Wien: Universal Edition, 1960, S. 55 (Vortrag vom 12. Februar 1932).
",
+ "90 | Hans Bethge, Die chinesische Flöte, Leipzig: Inselverlag, 4[1914] S. 35 (Die geheimnisvolle Flöte): Bethge_DchF. Weberns Exemplar in CH-Bps, Sammlung Anton Webern, trägt die Signatur AW B 1027.
",
+ "91 | Tatsächlich kannte Webern die von Mahler für Das Lied von der Erde eingerichteten Texte bereits vor der Uraufführung. Vgl. Webern an Berg, 30. Oktober 1911 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Wenn Du in beiliegendem Blatt den Schluß der Dichtung vom ‚Lied der Erde‘ gelesen hast, mein Lieber, erwartest Du Dir dann nicht das Wunderbarste von der Musik, das es gibt; etwas so Herrliches, wie es nie existiert hat. ‚Du mein Freund, mir war auf dieser Welt das Glück nicht hold! Wohin ich geh’ und wandere in die Berge, ich suche Ruhe, Ruhe für mein einsam Herz!...‘ Um Himmels willen, welche Musik muß das sein! Ich bilde mir ein, ich muß schon jetzt darauf kommen, bevor ich sie noch hörte. Mensch, kannst Du das aushalten. Ich nicht.“ Zu dem eminenten Eindruck von Mahlers Komposition auch im Zusammenhang der vermeintlich ‚chinesischen‘ Texte auf Webern vgl. Matthias Schmidt, „Übersetzung ohne Original? Gustav Mahler, Anton Webern und Li Bai“, in: Der doppelte Po und die Musik. Chinesisch-rätoromanische Studien, besonders zu Li Po, Harry Partch und Chasper Po, hg. von Mathias Gredig, Marc Winter, Rico Valär und Roman Brotbeck unter redaktioneller Mitarbeit von Daniel Allenbach, Würzburg: Königshausen & Neumann, 2021, S. 281–299.
",
+ "92 | A-Wst, Depositum Universal Edition, Anton Webern. Abbildung und Transkription dieser Liste in Julia Bungardt, „Einleitung“ (Anm. 22), S. 28 f. Die Werkliste reicht bis zu den hier als „op. 12“ gezählten Trakl-Liedern op. 14.
",
+ "93 | Im Umfeld dieser Korrektur lässt sich auch eine „13“ in einer weiteren radierten Schicht entziffern.
",
+ "94 | Egon Wellesz, „Anton von Webern: Lieder opus 12, 13, 14“, in: Melos 2/2 (Februar 1921), S. 38–40. Vgl. auch Webern an Jalowetz, 13. März 1921 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 481): „In Scherchens Zeitschrift ‚Melos‘ war ein Aufsatz des Wellesz über Lieder op. 12, 13. u. 14. von mir. Das hat mich sehr gefreut.“
",
+ "95 | Webern an Hertzka, 3. Januar 1925 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 101–104, hier S. 101). Vgl. auch Webern an Hertzka, 21. März 1925 (ebd., S. 106 f., hier S. 106): „Schon Anfang Jänner brachte ich Ihnen ein Heft von 4 Klavier-Liedern, op. 12, u. Sie stellten mir damals deren baldiges Erscheinen in Aussicht.“ Ein erster Vertrag datiert vom 5. Februar 1925, ein revidierter Vertrag vom 3. April 1925.
",
+ "96 | Vgl. Webern an die Universal Edition, 12. Juni und 20. Juni 1925 (ebd., S. 110 f.).
",
+ "97 | Vgl. ebd. (Anhang), S. 340 f.
",
+ "98 | Berg an Webern, 12. Oktober 1925 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]).
",
+ "99 | Vgl. Ankündigung des Konzerts in: Neue Freie Presse, 5. Januar 1927, S. 9. Laut einer Besprechung der Uraufführung der Lyrischen Suite Bergs, ging dieser noch eine Wiedergabe von Ludwig van Beethovens Klaviertrio in Es-Dur op. 70/2 voraus (vgl. Neues Wiener Journal, 12. Januar 1927, S. 11: ohne Erwähnung der Lieder Weberns und des Bach-Konzerts). Laut einer Ankündigung in: Die Stunde, 9. Januar 1927, S. 1, sang Co van Geuns am folgenden Tag noch einmal „Lieder von Anton Webern“ im kleinen Saal des Musikvereins. Über Einzelheiten dieses Konzerts ist nichts bekannt. In einem Brief an Jalowetz von 20. Dezember 1926 schreibt Webern von insgesamt sechs Liedern, die im Januar aufgeführt werden sollten: „Im Jänner singt eine holländische Sängerin 6 Lieder von mir hier in Wien.“ (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 570). Möglicherweise hatte van Geuns eine Kombination der Lieder aus op. 12 mit George-Liedern Weberns vorbereitet.
",
+ "100 | Webern an Schönberg, 17. Januar 1927 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22230]).
",
+ "101 | pp. [Paul Pisk], „Neue Musik im Konzertsaal“, in: Arbeiter-Zeitung [Wien], 11. Januar 1927, S. 7.
",
+ "102 | Anton Webern, Notizbuch (CH-Bps, Sammlung Anton Webern). Zitiert nach Moldenhauer, Anton von Webern (Anm. 18), S. 240. Über die Einzelheiten dieses Konzertes ist nichts bekannt.
",
+ "103 | N. N., „Konzertierende Künstler und neue Musik“, in: Musikblätter des Anbruch 9/3 (März 1927), S. 153: „Co van G e u n s sang in Köln Lieder von Webern und Zemlinsky mit Erfolg.“ Vgl. auch Webern, Briefe an Heinrich Jalowetz (Anm. 10), S. 572.
",
+ "104 | Vgl. Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936 (Anm. 64), S. 345.
",
+ "105 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 240. Vgl. auch ebd.: „Im gleichen Jahr waren drei der Vier Lieder in Frankfurt zu hören.“
",
+ "106 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 325 (Abbildung des vollständigen Programms).
",
+ "107 | Vgl. Universal Edition (Erwin Stein) an Webern, 18. November 1931 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 171 f., hier S. 171): „[…] Amsterdam führte Deine 4 Lieder op. 12 und 2 Lieder aus op. 3 (welche konnte ich bis jetzt nicht erfahren) am 18. ds. auf“, sowie den Kommentar der Herausgeberin.
",
+ "108 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 364.
",
+ "109 | Vgl. Webern an Josef Humplik, 8. Mai 1935 (A-Wn, HS 431/1–157): „Morgen abend, um ½ 7 werden in einer Veranstaltung der Hertzka-Gedächtnis-Stiftung Lieder von Schönberg, Berg u. mir [4 Lieder op. 12] gesungen […].“ Dass es sich bei der Sängerin um Nessy handelte, ergibt sich aus dem Zusammenhang mit der Aufführung der Vier Lieder op. 12 am 21. November 1935 (siehe unten Anm. 110). Wer die Klavier-Begleitung übernahm, ist nicht nachweisbar.
",
+ "110 | Vgl. H. E. H., „Neue Musik im Hagenbund“, in: Wiener Zeitung, 23. November 1935, S. 9. Als Pianistin bzw. Pianist waren Olga Novacovic bzw. Eduard Steuermann an diesem Konzert beteiligt. Wer von diesen beiden Weberns Lieder begleitet hat, ist nicht nachweisbar. Moldenhauer, Anton von Webern (Anm. 18), S. 409, gibt irrtümlich an, dass an diesem Konzert Weberns Konzert op. 24 unter seiner Leitung aufgeführt worden wäre. Webern hatte diese angekündigte Aufführung jedoch zurückgezogen, die Vier Lieder op. 12 dienten als Ersatz. Vgl. Webern an Jone und Humplik, 20. November 1935 (A-Wn, HS 431/1–169): „Nun muß ich Euch mitteilen, dass ich mein ‚Konzert‘ für morgen zurückgezogen habe […]. […] Es ist möglich, dass statt des „Konzertes“ die Lieder gesungen werden, die Ihr den Mai dieses Jahres gehört habt. [Da dieselbe Sängerin sowieso mitwirkt.]“ Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Anton Webern und Minna Webern – Hildegard Jone und Josef Humplik. Korrespondenz 1926–1949, hg. von Barbara Schingnitz, Dissertation, Universität Basel, 2019.
",
+ "111 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 476 f. Vgl. auch Erich Schmid, Lebenserinnerungen, Band 3 (Anm. 61), S. 48.
",
+ "112 | Erich Schmid, Lebenserinnerungen, Band 1 (Anm. 71), S. 327, sowie ebd., Band 3 (Anm. 61), S. 53 f. Sehr wahrscheinlich handelte es sich um die gleiche Auswahl an Webern-Liedern wie am 10. Februar 1940 in Basel.
"
+ ]
+ },
+ {
+ "blockId": "op23",
+ "blockHeader": "Drei Gesänge aus Viae inviae von Hildegard Jone op. 23",
+ "blockContent": [
+ "Die Anfang 1933 begonnenen und im März 1934 fertiggestellten Drei Gesänge aus Viae inviae von Hildegard Jone op. 23 sind Weberns erste Klavierlieder, die auf der Grundlage der „Komposition mit zwölf Tönen“ – wie Webern in der Regel die Zwölftontechnik bezeichnet – geschrieben wurden, und seine erste vollendete Vokalkomposition seit den Ende 1925 bis Sommer 1926 entstandenen Zwei Liedern für gemischten Chor mit Begleitung von Celesta, Gitarre, Geige, Klarinette und Bassklarinette op. 19. Der von Webern im Titel verwendete Terminus „Gesang“ deutet auf die im Vergleich zu den meisten anderen seiner Vokalkompositionen ausgedehnte Länge der einzelnen Stücke hin. Sie sind zugleich Weberns erste Komposition auf Texte von Hildegard Jone, deren Lyrik die Grundlage für alle weiteren fertiggestellten Vokalkompositionen Weberns bilden sollte.
",
+ "Webern lernte Jone und ihren Ehemann, den Bildhauer Josef Humplik, vermutlich im Herbst 1926 bei einer Ausstellung des Hagenbundes in Wien kennen. Aus der Bekanntschaft entwickelten sich spätestens 1928 Pläne für eine Zusammenarbeit zwischen Jone und Webern,113 die zu „drei Operntexte[n]“ Jones führten.114 Ob sich Weberns über ein Jahr später erfolgte briefliche Äußerung an Jone, „[ü]ber ihre Bühnendichtungen“ sprechen zu wollen,115 auf diese oder andere Texte der Dichterin bezieht, ist unklar; Jone hatte aber wohl nach wie vor die Absicht, für Webern „ein ‚Opernbuch‘ […] zu schreiben“.116 Im September 1930 entschuldigte sich Webern jedenfalls dafür,
",
+
+ "dass Ihre so schönen Bühnendichtungen mich offenbar, trotzdem ich damals sehr ernstlich damit umgegangen war, Derartiges zu komponieren, doch nicht in richtiger Bereitschaft für eine solche Arbeit angetroffen hatten.117
",
+
+ "Stattdessen bittet er sie im selben Brief darum, einen Kantatentext für ihn zu schreiben.118 Gedichte Jones, die sich zeitnah auf diese Aufforderung beziehen, sind jedoch nicht bekannt. („Kantaten“ auf Texte Jones komponierte Webern dann bekanntlich erst zwischen 1935 und 1943 in Das Augenlicht op. 26 sowie in der Kantate Nr. 1 op. 29 und der Kantate Nr. 2 op. 31.) Unabhängig von derart konkreten Überlegungen zu möglicher Zusammenarbeit schickte die Lyrikerin Webern immer wieder Manuskripte ihrer Gedichte.119
",
+ "Es ist vor diesem Hintergrund immerhin bemerkenswert, dass Weberns tatsächliche erste Vertonung von Gedichten Jones nicht in vorgängiger Absprache mit der Dichterin geschah, sondern auf einer bereits publizierten Sammlung beruhte: Viae inviae war im Herbst 1932 in der Zeitschrift Der Brenner veröffentlicht worden.120 Der Gedichtzyklus ist dem im Oktober 1931 verstorbenen Philosophen Ferdinand Ebner gewidmet, dessen Fragment von 1916 (zusammen mit einem kurz vor seinem Tod geschriebenen „Nachwort“ dazu) Jones Gedichtsammlung in der Zeitschrift vorangestellt ist.121 Webern war auf Vermittlung Jones hin Ebner kurz vor dessen Tod noch persönlich begegnet.122 Bereits zuvor hatte Jone Webern immer wieder mit Ideen Ebners, als dessen Herausgeberin sie auch später weiterhin tätig blieb, konfrontiert. Eine explizite Auseinandersetzung Weberns mit den Schriften Ebners lässt sich allerdings nur sporadisch – und erst ab 1934 – nachweisen, eine implizite Rezeption durch die Texte Jones dagegen ist gleichwohl offenkundig.123 Die Gedichte in Viae inviae sind in zwei mit römischen Ziffern bezeichnete Abteilungen gegliedert: Abteilung I beginnt mit einem Dem einsamen Wanderer überschriebenen Prolog und enthält in der Folge den Binnenzyklus Heimgang des Lebens, der sich in drei mit arabischen Ziffern unterteilte Abschnitte gliedert.124 Bei den von Webern in Opus 23 vertonten Texten handelt es sich um den 3. Abschnitt von Heimgang des Lebens, der seinerseits in acht unterschiedlich lange Versgruppen unterteilt ist. Weberns drei Gesänge setzen sich zusammen aus den Versgruppen 1–4 („Das dunkle Herz…“), 5–6 („Es stürzt aus Höhen…“) und 7–8 („Herr Jesus mein…“), die in chronologischer Hinsicht jedoch nicht in der Reihenfolge der Textvorlage komponiert wurden, auch wenn die Anordnung der fertiggestellten Gesänge die originale schließlich nicht veränderte.
",
+ "Die ersten Skizzen in A (Skizzenbuch 3) zu op. 23 sind mit „1. II. 33“ datiert und betreffen „Herr Jesus mein“ M 312 (M 312 Sk1, M 312 Sk1.1 und M 312 Sk2), also die beiden letzten Versgruppen des 3. Abschnittes von Heimgang des Lebens. Webern skizzierte eine Gesangslinie zu den ersten Worten des Gedichts und entwickelte daraus eine Zwölftonreihe. Im betreffenden Skizzenbuch unterbrechen diese und die folgenden Skizzen zu op. 23 die Arbeit am Konzert für Flöte, Oboe, Klarinette, Horn, Trompete, Posaune, Geige, Bratsche und Klavier op. 24, dessen erste Skizzen bereits von Anfang 1931 datieren und bis zum Herbst 1932 nicht über 30 Takte des ersten Satzes hinausgekommen waren.125 Tatsächlich hatte Webern seit Mitte 1931 durch gesundheitliche Probleme, Wohnungswechsel sowie vor allem zahlreiche Dirigierverpflichtungen im Jahr 1932 kaum Zeit und Muße für kompositorische Arbeit gefunden. Am 3. März 1933 berichtete Webern der Dichterin über die ersten Skizzen zu „Herr Jesus mein“ M 312 und klagte über den Zeitmangel auch im Zusammenhang dieser neuen Komposition:
",
+
+ "Ich bin recht in Bedrängnis: ärger denn je bedrückt es mich, nicht Zeit zum Komponieren zu haben. Ganz spontan hatte ich eines Tages die Komposition Ihres schönen, wundervollen Gedichtes angefangen, mußte aber bald wieder unterbrechen u. es rächt sich schon, dass ich mir erlaubt habe, im Jänner u. Feber so hie u. da bei unserer Arbeit zu sitzen. Nun bin ich so im Rückstand mit den anderen Dingen, der Vorbereitung für meine Konzerte: hier u. in London. Wie soll ich’s mir nur machen? Dass ihr Gedicht die „Freude“ heißt, ist ja wunderbar.126
",
+
+ "Offensichtlich hatte Webern bereits vor diesem Brief Jone von „unserer Arbeit“ berichtet und der von Webern hier angesprochene Titel Die Freude bezieht sich auf eine daraufhin von Jone erfolgte Mitteilung, dass die von Webern komponierten Verse (in einer von der Publikation im Brenner unabhängigen Manuskriptfassung) Teil eines eben so genannten Gedichtes sind.127 Als Kompositionsgrundlage dürfte Webern aber immer die veröffentlichte Fassung herangezogen haben.128 Erst zwei Monate später, in denen Webern neben einem Konzert im Großen Konzerthaussaal in Wien am 19. März129 auch mit seiner wöchentlich stattfindenden Vortragsreihe „Wege zur neuen Musik“ beschäftigt war,130 begann er Anfang April mit der Arbeit an der Klaviereinleitung (M 312 Sk3) und schrieb den Beginn der Verlaufsskizze bis Takt 8 (M 312 Sk4). Ein Neuansatz dieser Verlaufsskizze ab Takt 4 ist mit „31. V. 33“ datiert (M 312 Sk4 T. 4B–5C), wurde also erst nach Weberns Rückkehr von seiner Konzertreise nach London (16.–26. April) sowie einem Rundfunkkonzert am 23. Mai mit Mahlers Sechster Symphonie begonnen.131 Die Schlussdatierung der Verlaufsskizze lautet „Maria Enzersdorf | 14. VII. 33“.
",
+ "Nach einem Rundfunkkonzert am 21. Juli132 fing Webern damit an, einen weiteren Gesang zu skizzieren, diesmal auf der Grundlage des im Brenner auf derselben Druckseite direkt über den bereits vertonten Versen stehenden Texts („Es stürzt aus Höhen“ M 313). In einem Brief vom 29. Juli berichtet er Jone über die Fertigstellung des zuvor begonnenen Gesangs sowie der aufgenommenen Arbeit an dem neuen:
",
+
+ "Ich habe schon gut gearbeitet. Der eine Ihrer mich immer mehr erfüllenden Texte ist schon fertig. Das ist von „Herz Jesus mein“ bis „Und, ewig Schlafende, auch euch erwartet Tag“. Und nun verbinde ich „Es stürzt aus Höhen Frische“ – wie wundervoll diese Wort-Substanz – bis „überglüht noch lange Glut“ zu einem zweiten Gesang. Doch wird die Reihenfolge der beiden Gesänge der Ihrer Gedichte entsprechen.
",
+ "Wie tief berühren sie mich. Und ich bin so froh, endlich in diese Lage (einer Komposition Ihrer Werke) gekommen zu sein. Lange hatte ich es mir schon gewünscht. Nachdem ich mit der Arbeit an dem ersten Gesang fertig war, mußte ich auf 8 Tage unterbrechen, da ich noch ein Radio-Konzert zu dirigieren hatte. Ich wollte es schon ablehnen. Aber schließlich – nun Sie wissen ja die Gründe.133
",
+
+ "Die vermutlich durch den Ferienaufenthalt „auf eine[r] circa 1600 m hohe[n] Alm bei Kitzbühel in Tirol“134 Anfang August unterbrochene Arbeit an der Verlaufsskizze zu diesem zweiten Gesang wurde laut Datierung in A am „18. VIII. 33“ fertiggestellt (M 313 Sk4 T. 30C). In einem Brief an Jone vom 3. September wurden die beiden bis zu diesem Zeitpunkt vorliegenden Gesänge zunächst als „vorläufig“ beendetes Projekt deklariert:
",
+
+ "Ich habe vorläufig die Komposition von Texten aus Ihrem „Viae inviae“ beendet. Es ist so gekommen, wie ich es vorhatte: 1. Lied: „Es stürzt aus Höhen“ bis „den Himmel u. die Seele überglüht noch lange Glut.“ 2. „Herr Jesus mein“ bis „auch euch erwartet Tag.“ (also die ganze Seite 65 aus dem „Brenner“). Ich sage „vorläufig“[,] weil ich die Empfindung habe, bald wieder auf Worte von Ihnen zurückkommen zu müssen. Doch glaube ich einstweilen wenigstens, sollen zunächst diese 2 Lieder für sich allein bleiben. Sie schließen sich musikalisch zu einem Ganzen zusammen; im Sinn einer gewissen Gegensätzlichkeit. Zur Zeit bin ich wieder an einer rein instrumentalen, schon vor Längerem begonnenen Arbeit. Wie sehr hatte mich die an ihren Worten glücklich gemacht!135
",
+
+ "Ebenfalls Anfang September 1933 nahm Webern zunächst die Skizzierung des ersten Satzes vom Konzert op. 24 im selben Skizzenbuch wieder auf, jedoch ohne diese Arbeit zu einem Abschluss zu bringen oder auch nur kontinuierlich weiterzuführen. Ende desselben Monats plante er, der Dichterin beide der bis zu diesem Zeitpunkt vorliegenden Gesänge aus op. 23 bei einem ihrer Aufenthalte in Wien vorzuführen:
",
+
+ "Nun kommen Sie ja, Gott sei Dank, auch bald nach Wien. […] Was Sie wohl zu meinen Liedern nach Ihren Worten sagen werden? Wie wird Ihnen das vorkommen, wenn Ihr Wort als Musik erscheint? Könnte ich nur weiter arbeiten. Ich hoffe, im Okt. wieder darangehn zu können.136
",
+
+ "Erst Anfang Januar 1934 arbeitete Webern mit ersten Skizzen in A zu dem Lied „Das dunkle Herz“ M 314 weiter an op. 23 (M 314 Sk1, M 314 Sk2 und M 314 Sk3; Datierungen vom „3. I. 1934“ und „5. I. 34“). Dessen Text stellt den Beginn der im Brenner zu einer nummerierten Einheit zusammengeschlossenen Verse dar und komplettiert in dieser Hinsicht die beiden bereits komponierten Gesänge. In einem Brief an Jone betonte Webern, dass die Reihenfolge der Verse im Druck weiterhin auch die Anordnung des zu drei Gesängen angewachsenen Zyklus bestimmen soll:
",
+
+ "Jetzt bin ich endlich wieder bei der Arbeit. Es wird: „Das dunkle Herz, das in sich lauscht...“ Alles, was von da ab auf der Seite steht, also bis dahin, wo ich schon war: „Es stürzt aus Höhen Frische…“ und soll, wie in Ihrer Anordnung, diesem u. dem folgenden „Herr Jesus mein…“ vorangehn.
",
+ "Mir kommt vor, ich habe den Zustand, zu arbeiten, noch niemals so empfunden, wie jetzt.
",
+ "Hoffentlich kann er etwas dauern!137
",
+
+ "Die Arbeit an der am 5. Januar begonnenen Verlaufsskizze (M 314 Sk3) wurde durch Weberns Rundfunkkonzert mit Felix Mendelssohn Bartholdys Violinkonzert und Dritter Symphonie am 28. Januar 1934 unterbrochen.138 Eine weitere Zäsur bedeuteten die am 12. Februar in Wien und anderen größeren Städten Österreichs ausgebrochenen und bis zum 15. Februar andauernden Kämpfe zwischen dem paramilitärischen Republikanischen Schutzbund der Sozialdemokratischen Partei und der militärischen und polizeilichen Exekutive des Dollfuß-Regimes. Diese Ereignisse sollten weitreichende Folgen für Weberns künstlerische Biographie als Dirigent haben (siehe zu Drei Lieder op. 25) und schränkten auch kurzfristig seine Disposition zur weiteren Komposition des begonnenen Gesangs ein, wie in einem Brief an Jone vom 14. Februar deutlich wird:
",
+
+ "Liebste Frau Jone,
",
+ "die Aufregungen der letzten Tage sind ungeheuer u. werden es immer mehr. Es ist kaum möglich[,] einen Gedanken zu fassen […].
",
+ "[…] Und vergangene Woche habe ich doch wieder jeden freien Augenblick benützt, um an den Gedichten [sic] „Das dunkle Herz“ weiterzuschreiben. Ich hatte wieder etwas freie Zeit. […]
",
+ "Und jetzt wieder – Frau Jone! Geschützdonner, Maschinengewehrgeknatter. –139
",
+
+ "Am 20. Februar berichtete Webern dann in einem Brief an Humplik, dass er gleichwohl in der Verlaufsskizze bis zur Textstelle „an das Wartende im Dunkel“, also bis Takt 15 angelangt sei.140 Anfang März hatte er inzwischen bis Takt 24 weitergearbeitet: „Ich bin in meiner Arbeit bis: … ‚ein goldenes Flattern trägt:‘ gekommen u. setze morgen fort. Ich habe noch etwas freie Zeit vor mir.“141 Die komplette Skizzierung der Singstimme vermeldete er am 11. März,142 die fertiggestellte Verlaufsskizze ist schließlich mit „15. III. 34“ datiert. In einem darauffolgenden Brief an Jone beschrieb Webern den neuen Gesang vergleichsweise ausführlich und schlug darüber hinaus den Titel der nun vollständigen Sammlung vor:
",
+
+ "Inzwischen ist das dritte Lied fertig geworden.
",
+ "Da es die Worte von „Das dunkle Herz…“ bis „…ich und du und alle“ umfaßt, ist es recht lang geworden u. stellt der musikalischen Form nach eigentlich eine Art „Arie“ dar: bestehend aus einem langsamen Teil u. ab „ich bin nicht mein…“ einem schnelleren, der aber trotzdem die Tempovorschrift „Ganz ruhig“ trägt.
",
+ "Er – dieser 2. Teil – ist fast im Flüsterton gehalten. Vielleicht können Sie doch aus dieser Beschreibung ungefähr entnehmen, wie ich im Besonderen den 2. Teil Ihrer Worte aufgefaßt habe: nach einem großen Aufschwung des ersten[,] ganz unvermittelt völlige Stille, Ruhe, Einfachheit.
",
+ "Den Titel habe ich mir so gedacht:
",
+ "Drei Gesänge aus Viae inviae.
",
+ "Kann ich diesen Titel Ihrer Gedichte übernehmen?
",
+ "Bald sende ich Ihnen das Manuscript.143
",
+
+ "An Alban Berg führte er in einem eine Woche später geschriebenen Brief die formale Disposition auch der anderen Gesänge näher aus:
",
+
+ "Ich habe gerade ein drittes Lied (nach Jone-Texten) fertig gestellt. Eigentlich ist es eine Arie, bestehend aus einem langsamen Teil u. einem schnelleren. Es wird das erste sein.
",
+ "Und ich habe bemerkt, dass auch die beiden früher entstandenen eigentlich was anderes sind als Lieder (der Form nach): das eine ist direkt ein Recitativ mit einem Arioso, das andere (in der Folge jetzt letzte) ein Rondo.
",
+ "So bin ich, ohne es direkt gewollt zu haben, in diesem opus eigentlich zur Auseinandersetzung mit größeren vokalen Formen gelangt. Am Ende komme ich doch noch zu einer Oper.144
",
+
+ "Ob sich Weberns Formulierung „fertig gestellt“ in diesem Brief rückblickend auf die einige Tage zuvor datierte Verlaufsskizze oder auf eine bereits vollendete Reinschrift bezieht, ist nicht klar. (Möglicherweise hatte er die Reinschriften der beiden anderen Gesänge auch schon zeitnah nach Beendigung von deren Verlaufsskizzen angefertigt.) Die autographe Stichvorlage aller drei Gesänge C gelangte auf jeden Fall noch vor Juli an die Universal Edition und wurde von dieser am 11. Juli zum Verlag angenommen.145 Die Herstellung verzögerte sich jedoch erheblich: Nachdem Webern zunächst noch davon ausgegangen war, dass „die U. E. […] bis zum Herbst meine letzte Arbeit [druckt]“,146 erfuhr er Ende August, dass der Stich der Lieder „wegen anderer termingebundener Arbeiten leider noch nicht begonnen“ hatte.147 Erst im Februar 1935 wurde Weberns Manuskript zum Stich geschickt, dieser Auftrag jedoch gleich wieder storniert. Tatsächlich wurde mit dem Stich erst Anfang Januar 1936 angefangen. Eine erste Korrektur erhielt Webern dann bereits Ende desselben Monats, zwei weitere folgten am 10. und 27. März. Die Drei Gesänge op. 23 erschienen am 4. Mai 1936 in einer Auflage von 302 Exemplaren.148
",
+ "Bereits 1935 hatte Webern auf eine Aufführung der Drei Gesänge op. 23 durch die Sängerin Julia Nessy gehofft, die jedoch nicht zustande kam.149 Die Uraufführung erfolgte erst am 5. Dezember 1943 in Basel (Konservatorium) und in Abwesenheit des Komponisten, bei einem maßgeblich von Willi Reich initiierten Konzert der dortigen Ortsgruppe der IGNM zum 60. Geburtstag Weberns:150 Marguerite Gradmann-Lüscher, die bereits bei Weberns Schweiz-Aufenthalt 1940 in Basel die Fünf Lieder nach Gedichten von Stefan George op. 4 aufgeführt sowie eine Auswahl der Vier Lieder op. 12 gesungen hatte, wurde begleitet von Paul Baumgartner.151
",
+ "Die Rezensionen dieses Konzertes in den Basler Zeitungen sind – offensichtlich geprägt durch einen Einführungsvortrag von Reich – auf eine Gesamtschau des „weltfernen“ und damit implizit bereits als quasi historisch verstandenen Komponisten konzentriert:
",
+
+ "In der Tat vermittelten die zum Teil in Uraufführung dargebrachten Werke den Eindruck von etwas durchaus Einmaligem, Eigenartigem und Weltfernem. Eine Musik höchster geistiger Potenz, Gesetz und Kraft zugleich – man möchte fast sagen: zu wahr um schön zu sein, und damit meinen, dass diese Musik jenseits von Wohlklang und Missklang einzig dem Gebot der Ehrlichkeit und Aufrichtigkeit dient und so die Töne bedingungslos unter das Gesetz des Geistes und seiner Erkenntniskraft zwingt. […] Dahin aber kann und soll die allgemeine Musikentwicklung nicht gelangen, denn diese Dinge zu schauen und im Klang wiederzugeben, vermag nur einer, der sich abseits der Welt begeben hat und der sich nicht um ihr Urteil kümmert – nämlich Anton Webern.152
",
+
+ "Über die Drei Gesänge heißt es in einer weiteren Besprechung lediglich:
",
+
+ "Drei Gesänge aus den „Viae inviae“ von Hildegard Jone, op. 23, erklangen in Uraufführung. Hier wird die ruhige, nur gelegentlich durch große Sprünge zerrissene, zarte Gesangslinie durch heftige, harte Einwürfe der Begleitung gestört.153
",
+
+ "Für einen die lyrischen Werke Jones präsentierenden „Abend zeitgenössischer Dichtung“ am 29. November 1944 im Erzbischöflichen Palais in Wien projektierten Jone und Webern eine Zeit lang eine Aufführung sowohl der Drei Gesänge op. 23 als auch der Drei Lieder op. 25,154 die dann von einer namentlich nicht bekannten „schwedischen Sängerin“ und Weberns Schüler Fré Focke auch schon geprobt wurden.155 Letztendlich kam diese Aufführung aber nicht zustande. Weitere Aufführungspläne zu Lebzeiten Weberns sind nicht bekannt.
"
+ ],
+ "blockNotes": [
+ "113 | Vgl. Webern an Jone, 6. August 1928 (A-Wn, HS 431/1–11): „Nun lassen Sie uns hoffen, dass aus unserer gemeinsamen Arbeit etwas wird. Dass ich die Anregung dazu gegeben habe, daraus mögen Sie entnehmen, wie sehr lieb, ja wesensverwandt mir Ihre Denkungsart ist. –“
",
+ "114 | Vgl. Jone an Ludwig von Ficker, 28. November 1928 (Brenner-Archiv, Innsbruck [zitiert nach Thomas Reinecke, Hildegard Jone (1891–1963). Untersuchungen zu Leben, Werk und Veröffentlichungskontexten. Zugleich eine Studie zu einigen Figuren im Denken Anton Weberns und den von ihm vertonten Texten, Frankfurt am Main: Peter Lang, 1999, S. 51]): „Ich habe im Herbst drei Operntexte für Anton Webern, der mich im Frühling innig darum gebeten hat, geschrieben: Die Verwandlung der Liebe, Die letzte Begegnung, Die Räume des Innern und seine Gäste.“ Ein Manuskript Jones mit dem Titel Die letzte Begegnung (mit einer Widmung an Ferdinand Ebner) befindet sich in CH-Bps, Sammlung Hildegard Jone (TM 26). Vgl. auch Barbara Schingnitz, [„Einleitung“], in: Briefwechsel Webern und Webern – Jone und Humplik (Anm. 110), S. LXVII ff.
",
+ "115 | Webern an Jone, 17. Januar 1930 (A-Wn, HS 431/1–35).
",
+ "116 | Ebd.: „Dass Sie immer wieder daran denken, ein ‚Opernbuch‘ für mich zu schreiben, macht mich sehr froh.“
",
+ "117 | Webern an Jone, 8. September 1930 (A-Wn, HS 431/1–48).
",
+ "118 | Ebd.: „Nun beschäftigt mich sehr die Idee, eine Kantate zu schreiben. Und meine Bitte: würden Sie so einen Text für mich verfassen wollen? Wer sollte es denn sein, als Sie, liebe Frau Jone! Diese Idee läßt mich nicht mehr los u. so mußte ich es sagen.“ Die „Idee, eine Kantate zu schreiben“, dürfte in dieser Zeit auch durch Weberns Proben zu Johann Sebastian Bachs Actus tragicus motiviert worden sein. Vgl. Regina Busch, „Webern, Bach und Kantaten“, in: webern_21, hg. von Dominik Schweiger und Nikolaus Urbanek, Wien: Böhlau, 2009 (Wiener Veröffentlichungen zur Musikgeschichte 8), S. 221–244.
",
+ "119 | Vgl. die verstreuten Nachweise der Herausgeberin im Kommentar zu Briefwechsel Webern und Webern – Jone und Humplik (Anm. 110). Zu den Schwierigkeiten der Identifizierung einzelner Gedichte und ihrer Fassungen (sowie den daraus resultierenden Ungenauigkeiten eines großen Teiles der betreffenden Forschungsliteratur) vgl. ebd. („Exkurs: Problematik der Quellenlage in Jones Nachlass“), S. XXI: „[I]n den meisten Fällen [sind] die an Webern gesendeten Abschriften von Gedichten bzw. Gedichtsammlungen, soweit sie aus der Korrespondenz erschlossen werden können, nicht eindeutig zu identifizieren, da bis auf wenige Ausnahmen […] in Weberns Nachlass keine autographen (vom Vertonungskontext losgelösten) Jone-Dichtungen mehr befindlich sind. Dass Webern regelmäßig Abschriften von Jone-Texten erhielt und nach einiger Zeit wieder zurücksandte (und sich oft auch Teile daraus abschrieb), wird ebenfalls aus der Korrespondenz deutlich, diese Abschriften lassen sich ebenfalls weder in Weberns noch Jones Nachlass nachweisen.“ Eine Abschrift Weberns aller von ihm vertonten Gedichte Jones (US-Wc, Moldenhauer Archives 59/2) war vom Komponisten nachträglich für die Vorbereitung eines für den 29. November 1944 geplanten „Abends zeitgenössischer Dichtung“ im Frühsommer desselben Jahres angefertigt worden. Vgl. Webern an Jone, 30. April 1944 (A-Wn, HS 431/1–285): „Die von mir komponierten Gedichte habe ich bereits, so wie Du es wünschtest, abgeschrieben […] u. bringe Dir das Heftchen mit […].“
",
+ "120 | Hildegard Jone, Viae inviae, in: Der Brenner 13 (1932), S. 60–74, hier S. 64 („Das dunkle Herz“) und 65 („Du stürzt aus Höhen“ und „Herr Jesus mein“): Jone_Vi. Vgl. Webern an Jone, 3. November 1932 (A-Wn, HS 431/1–85): „Auf Ihre Gedichte im ‚Brenner‘ freue ich mich schon sehr.“
",
+ "121 | Zum Aufbau dieser gesamten Brenner-Ausgabe als Gedenkheft für Ferdinand Ebner, der in der Zeitschrift wiederholt als Autor tätig gewesen war, sowie den inhaltlichen Bezügen zu dessen Philosophie in Jones Gedichten vgl. Reinecke, Hildegard Jone (Anm. 114), S. 175–187.
",
+ "122 | Vgl. Ferdinand Ebner, Notizen Tagebücher Lebenserinnerungen, hg. von Franz Seyr, München: Kösel, 1963 (Ferdinand Ebner Schriften 2), S. 1033: „Im Atelier [lies: Humpliks und Jones] Dr. Webern – die Fr. Jone wünscht es.“
",
+ "123 | Vgl. Schingnitz, [„Einleitung“] (Anm. 110), S. LI f.
",
+ "124 | Abteilung II versammelt nach einem titellosen einleitenden Gedicht vier durch arabische Ziffern abgetrennte Abschnitte, die alle in sich abgeschlossene Einzelgedichte enthalten: 1. Das Augenlicht (die spätere Vorlage für Weberns op. 26), 2. Christophorus, 3. Der Berg und 4. Zwischen Tag und Nacht. Im 3. und 4. Abschnitt folgen jeweils durch mit Asterisken abgetrennte Versgruppen, von denen nicht klar ist, ob sie die in den beiden Titeln angesprochenen Texte fortführen oder eigenständige Gedichte darstellen.
",
+ "125 | Zur langwierigen Arbeit am ersten Satz von op. 24 vgl. Kathryn Bailey, „Symmetry as Nemesis: Webern and the First Movement of the Concerto, Opus 24“, in: Journal of Music Theory 40/2 (Autumn 1996), S. 245–310.
",
+ "126 | Webern an Jone, 3. März 1933 (A-Wn, HS 431/1–89).
",
+ "127 | Vgl. Lauriejean Reinhardt, „Webern’s Literary Encounter with Hildegard Jone“, in: Mitteilungen der Paul Sacher Stiftung 5 (Januar 1992), S. 36–40. Ebd., S. 37, das Faksimile eines Jone-Manuskripts mit dem Titel Die Freude, das die meisten der von Webern in Opus 23 vertonten Verszeilen enthält. Es ist allerdings unwahrscheinlich, dass dieses Manuskript vor 1933 entstanden ist und Webern vorgelegen hat.
",
+ "128 | Vgl. Reinecke, Hildegard Jone (Anm. 114), S. 297 f.
",
+ "129 | Arbeiter-Symphonie-Konzert: Ernst Krenek, Kleine Blasmusik op. 70A; Paul A. Pisk, Kantate Campanella op. 28; Hanns Eisler, Das Lied vom Kampf.
",
+ "130 | Vgl. Webern, Wege zur neuen Musik (Anm. 89), S. 9–44. Der Vortragszyklus begann am 20. Februar und endete am 10. April. Die insgesamt acht Vorträge fanden in Regel am Montagabend, zweimal auch dienstags (am 7. und 14. März) statt.
",
+ "131 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 359, sowie Radio Wien, 19. Mai 1933, S. 42.
",
+ "132 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 360, sowie Radio Wien, 14. Juli 1933, S. 52.
",
+ "133 | Webern an Jone, 29. Juli 1933 (A-Wn, HS 431/1–99). Tatsächlich ist der Beginn der ersten Skizze zu „Es stürzt aus Höhen“ M 313 mit „26. VII. 33“ datiert, mithin zwölf und nicht, wie von Webern angegeben, acht Tage nach der Abschlussdatierung der Verlaufsskizze zu „Herr Jesu mein“ M 312.
",
+ "134 | Ebd.: „Also, ab 4. – ungefähr 10. [August] sind wir nicht da.“ Vgl. auch Moldenhauer, Anton von Webern (Anm. 18), S. 360 f., wo der Aufenthalt in Tirol auf „6.–12. August“ datiert wird.
",
+ "135 | Webern an Jone, 3. September 1933 (A-Wn, HS 431/1–101).
",
+ "136 | Webern an Jone, 24. September 1933 (A-Wn, HS 431/1–104). Eine Reaktion Jones auf die beiden Gesänge ist nicht überliefert.
",
+ "137 | Webern an Jone, 6. Januar 1934 (A-Wn, HS 431/1–116).
",
+ "138 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 369, sowie Radio Wien, 26. Januar 1934, S. 16.
",
+ "139 | Webern an Jone, 14. Februar 1934 (A-Wn, HS 431/1–119).
",
+ "140 | Webern an Humplik, 20. Februar 1934 (A-Wn, HS 431/1–120): „Ich arbeite doch wieder: ‚was wird legt sich mit zarten Wurzeln an das Wartende im Dunkel…‘ Je schrecklicher es wird[,] umso verantwortungsvoller unsere Aufgaben.“ Die Verlaufsskizze M 314 Sk3 artikuliert die Textstelle in mehreren Varianten: T. {12A, 12B, 13A–15A, 12C}, T. {12D, 13B–15B, 16A–17A}, T. {23A–24A}, {13C–15C} und T. {13D–15D}. Siehe auch M 314 Sk3.2.
",
+ "141 | Webern an Jone, 4./5. März 1934 (A-Wn, HS 431/1–121). Siehe M 314 Sk3 T. 22B–24B, {25B–27B}.
",
+ "142 | Webern an an Jone, 11. März 1934 (A-Wn, HS 431/1–122): „‚Wir sind nicht unser, ich und du u. Alle‘. Gerade habe ich die Melodie zu Ende skizziert. Sie sehn also, bald wird das Lied zu Ende komponiert sein.“ Vermutlich bezieht sich Webern hier auf M 314 Sk3.4.
",
+ "143 | Webern an Jone, 20. März 1934 (A-Wn, HS 431/1–123). Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Webern und Webern –Jone und Humplik (Anm. 110): „Ob Webern letztlich […] überhaupt eine Reinschrift der Drei Lieder op. 23 an Jone sandte oder sie ihr überreichte, ist nicht festzustellen; die Korrespondenz suggeriert es nicht. Den Druck des Werks erhielten Jone und Humplik nach dessen Erscheinen bei der Universal Edition […].“
",
+ "144 | Webern an Berg, 27. März 1934 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]).
",
+ "145 | Vgl. Universal Edition (Hugo Winter) an Webern, 11. Juli 1934 (Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 188). Der Verlagsvertrag datiert vom 12. Juli (vgl. den Kommentar der Herausgeberin, ebd., sowie Anhang, S. 344 f.).
",
+ "146 | Webern an Universal Edition (Yella Hertzka), 12. Juli 1934 (Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 189).
",
+ "147 | Universal Edition (Erwin Stein) an Webern, 29. August 1934 (Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 196).
",
+ "148 | Vgl. Webern, Briefwechsel mit der Universal-Edition (Anm. 22), Anhang, S. 344 f.
",
+ "149 | Vgl. Webern an Josef Humplik, 8. Mai 1935 (Anm. 109).
",
+ "150 | Reich an Webern, 30. August 1943 (CH-END [Durchschlag]): „Ihr ‚Sechziger‘, auf den Sie so diskret hinweisen, ist mir natürlich schon vorher bewußt gewesen, und ich habe schon allerlei Pläne zur Feier dieses Tages geschmiedet. […] Eine Basler Kammermusikaufführung (das ganze Konzert ausschließlich mit Werken von Webern) ist für Dezember bereits im Rahmen der IGNM gesichert“.
",
+ "151 | Zum Konzert und seinem vollständigen Programm, u. a. mit den Fünf Liedern op. 3 ebenfalls durch die genannten Ausführenden, vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 502 f.
",
+ "152 | Bg., in: National-Zeitung, 7. Dezember 1943 (Morgenblatt), S. 4. Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Webern und Webern –Jone und Humplik (Anm. 110) zu Webern an Jone, 4. Dezember 1943.
",
+ "153 | ay, „Anton Webern in der I. G. N. M.“, in: Basler Nachrichten, 7. Dezember 1943 (2. Beilage). Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Webern und Webern – Jone und Humplik (Anm. 110) zu Webern an Jone, 4. Dezember 1943.
",
+ "154 | Vgl. z. B. Webern an Jone, 22. April 1944 (A-Wn, HS 431/1–284): „Am günstigsten wäre es ja, eine Sängerin zu finden, die einige von den sechs Klavier-Liedern – nach Texten von Dir – singen könnte.“
",
+ "155 | Webern an Jone, 10. August 1944 (A-Wn, HS 431/1–292): „Ich bekam Nachricht, dass die erwähnte schwedische Sängerin zugesagt hat u. bereits studiert.“
"
+ ]
+ },
+ {
+ "blockId": "op25",
+ "blockHeader": "Drei Lieder nach Gedichten von Hildegard Jone op. 25",
+ "blockContent": [
+ "Die im Laufe des Jahres 1934 entstandenen Drei Lieder nach Gedichten von Hildegard Jone op. 25 knüpfen an die im Jahr zuvor in den Drei Gesängen aus Viae inviae von Hildegard Jone op. 23 begonnene kompositorische Auseinandersetzung Weberns mit der Lyrik Hildegard Jones an. Die politischen Konsequenzen der Kämpfe zwischen dem paramilitärischen Republikanischen Schutzbund der Sozialdemokratischen Partei und der militärischen und polizeilichen Exekutive des Dollfuß-Regimes in Wien und anderen größeren Städten Österreichs vom 12. bis zum 15. Februar 1934 veränderten Weberns berufliche Situation gegenüber den Vorjahren jedoch einschneidend. Das Verbot der Sozialdemokratischen Partei bedeutete den Verlust seiner Tätigkeit als Dirigent bei den Wiener Arbeiter-Symphonie-Konzerten und als künstlerischer Direktor des Singvereins der Sozialdemokratischen Kunststelle. In der Folge wurden auch seine Engagements beim Rundfunk immer weniger. In einem Brief an Arnold Schönberg, der 1933 in die Vereinigten Staaten emigriert war, beschreibt Webern dies selbst mit vergleichsweise drastischen Worten:
",
+
+ "[H]ier wird es immer schwerer für mich. Ich spüre doch sehr, was mir durch die bewußten Ereignisse genommen worden ist – u. wohl kaum wird wiederhergestellt werden können. – Und abgesehn vom Materiellen: mit Kanonen hat man mir gleichsam, nein wirklich, zerschossen, was ich mühevoll durch 10 Jahre aufgebaut hatte.156
",
+
+ "Immerhin bedeutete die zunehmende Isolation auch: „Ich habe jetzt doch etwas Zeit zur Arbeit […].“157
",
+ "Nach dem Abschluss der Drei Gesänge op. 23 im März 1934 und parallel zur weiteren Arbeit am Konzert für Flöte, Oboe, Klarinette, Horn, Trompete, Posaune, Geige, Bratsche und Klavier op. 24 begann Webern im Juli desselben Jahres mit der Komposition zunächst eines Liedes aus Jones insgesamt 29 (nicht nummerierte) Gedichte umfassenden Sammlung Die Freude. Dieser im Herbst 1933 in der katholischen Zweimonatsschrift Die Schildgenossen publizierte Zyklus ist untergliedert in
",
+
+ "– 5 ‚Frühlings‘-Gedichte (hieraus der Text zu „Wie bin ich froh!“ M 317 [op. 25/1]),
",
+ "– 8 ‚Stern‘-Gedichte (hieraus „Sterne, ihr silbernen Bienen“ M 321 [op. 25/3]) und
",
+ "– 16 ‚Todes‘-Gedichte (hieraus „Des Herzens Purpurvogel“ M 322 [op. 25/2]).158
",
+
+ "Ob Webern die später insgesamt drei von ihm zur Komposition herangezogenen Gedichte auch unabhängig von (vor oder nach) dieser Veröffentlichung von Jone als Manuskript erhalten hatte, ist nicht nachweisbar. Die genannte Ausgabe von Die Schildgenossen war Webern jedenfalls noch Ende November 1933 nicht bekannt.159
",
+ "Anfang Januar 1934 – zu einem Zeitpunkt als Webern die Verlaufsskizze zu M 314 (op. 23/1) gerade erst begonnen hatte – kündigte er als mögliches Folge-Projekt die Vertonung „etliche[r] ‚Stern‘-Gedichte“ an, also wohl von Gedichten aus der zweiten Gruppe innerhalb der Sammlung Die Freude.160 Tatsächlich komponierte er nach Abschluss der Verlaufsskizzen von M 314 (15. März 1934) und des ersten Satzes vom Konzert op. 24 (25. Juni 1934) kein ‚Stern‘-Gedicht, sondern mit dem ersten Gedicht der kompletten Sammlung ein ‚Frühlings‘-Gedicht: „Wie bin ich froh!“ M 317. (Zuvor hatte Webern in den Skizzen zum ersten Satz des Konzerts op. 24 eine Interpolation des ebenfalls aus Die Freude stammenden Gedichtes Wie kann der Tod so nah der Liebe wohnen? [M 315] für Chor erwogen [11. Mai 1934], diese Idee aber wieder verworfen.) Laut Datierung in den Skizzen begann Webern die Komposition des Liedes am 4. Juli 1934, und einige Tage später berichtete er Jone und Josef Humplik davon:
",
+
+ "Erzählte ich schon, dass mein erster Satz [lies: von op. 24] fertig ist? Momentan habe ich aus Gründen, die ich noch erzählen werde, eine andere Arbeit eingeschoben: die Komposition eines kurzen Gedichtes von Ihnen, liebste Freundin:
",
+ "‚Wie bin ich froh! Noch einmal
",
+ "wird mir Alles grün….‘161
",
+
+ "Die im Brief erwähnten „Gründe“ für die Unterbrechung der Arbeit an weiteren Sätzen des Konzertes op. 24 wegen eines Liedes bestanden sehr wahrscheinlich darin, eine Komposition rechtzeitig zum 60. Geburtstag von David Josef Bach am 13. August desselben Jahres fertigstellen zu wollen. Bach, ein Jugendfreund Schönbergs, war in den 1910er Jahren Initiator der Arbeiter-Symphonie-Konzerte in Wien sowie seit 1919 Leiter der Sozialdemokratischen Kunststelle gewesen. Seit 1922 hatte er Webern immer wieder als Dirigent der Konzerte sowie vor allem seit Ende 1923 als Leiter des Singvereins engagiert, was maßgeblich zu Weberns Reputation als Dirigent beigetragen hatte. Durch das Verbot der Sozialdemokratischen Partei nach den Februarereignissen 1934 war Bach selbst in eine prekäre Situation geraten, auf die Webern in Briefen u. a. an Schönberg aufmerksam machte – und dabei auch den bevorstehenden Geburtstag sowie seine geplante Lied-Widmung ansprach:
",
+
+ "Für Dr. Bachs 60. Geburtstag – 13. August d. J. – wird Folgendes vorbereitet: eine Adresse mit Unterschriften u. eine Geldsammlung.
",
+ "Seine finanzielle Lage ist noch immer sehr drückend […].
",
+ "Ich widme ihm ein Lied […].162
",
+
+ "Die 15 Takte umfassende Verlaufsskizze M 317 Sk4 in A (Skizzenbuch 3) hatte Webern einige Tage zuvor, am 16. Juli, beendet und daraufhin Jone mitgeteilt: „Das neue Lied ist fertig. –“163 Von der Einbindung in eine möglicherweise geplante Liedersammlung ist zunächst noch keine Rede.164 Im Anschluss an diese Verlaufsskizze finden sich im selben Skizzenbuch die laut Datierung am „21. VII[.]“ begonnen Skizzen zum zweiten Satz (M 319) des Konzertes op. 24. Davor oder zeitgleich schrieb Webern die Reinschrift des Klavierliedes in E, die aber vermutlich in ihrer ersten Schicht noch nicht der späteren zwölftaktigen Textfassung entsprach. Wohl spätestens vor seiner Abreise zu einer Bergtour in die Ötztaler Alpen am 11. August fertigte Webern eine Niederschrift von Textfassung 1 als Widmungsexemplar an (B), das er Bach zum Geburtstag an dessen Sommeraufenthalt in Henndorf bei Salzburg auf seinem Weg persönlich überbrachte.165 Auch das in E enthaltene Autograph von M 317 (als op. 25/1) wurde zunächst im Sinne von Textfassung 1 in B überarbeitet, bevor es später – vermutlich erst im Zusammenhang mit der Entstehung der Reinschriften zu M 321 (op. 25/3) und M 322 (op. 25/2) – wieder verändert und als Textfassung 2 Teil der späteren Sammlung aller drei Lieder wurde.
",
+ "Nach Fertigstellung der Verlaufsskizze zum dritten Satz (M 320) des Konzertes op. 24 am 4. September berichtete Webern Humplik und Jone einige Tage später über den Plan eines auch „Wie bin ich froh!“ M 317 beinhaltenden „Lieder-opus“: „Ich habe das instrumentale opus gerade fertig gestellt u. will nun das bereits begonnene Lieder-opus – fertig ist ja schon längst: ‚Wie bin ich froh‘ – fortsetzen.“166 Eine erste Skizze zu „Sterne, ihr silbernen Bienen“ M 321 in D (Skizzenbuch 4) findet sich innerhalb der Skizzen zum dritten Satz des Konzertes op. 24 und stammt vermutlich bereits von Ende August 1934 (M 321 Sk1). Laut den eigenhändigen Datierungen begann Webern dann am 19. September mit weiteren Skizzen (M 321 Sk2). Über den Fortschritt berichtete Webern Jone Anfang Oktober, wobei der genaue Umfang des „neuen Liederheftes“ nach wie vor offenblieb und sogar die Aufnahme neuer zugesandter, nicht in Die Freude enthaltener „Lieder“ angedeutet wurde:
",
+
+ "Liebe, sehr verehrte Freundin,
",
+ "vielen, innigsten Dank für die schönen Lieder!
",
+ "„Wie bin ich froh“, sie zu besitzen. Ich denke, sicher wird das eine oder andere in das neue Liederheft kommen. Jetzt ist „Sterne, Ihr silbernen Bienen…“ in Arbeit u. schon weit geworden.167
",
+
+ "Die Verlaufsskizze beendete Webern laut Datierung am 8. Oktober (M 321 Sk3 T. 21B–26B). Am 17. Oktober berichtete er Jone sowohl davon als auch bereits vom Beginn der Arbeit an „Des Herzens Purpurvogel“ M 322.168 Der Beginn einer ersten, später abgebrochenen Verlaufsskizze ist mit „24. X[.] 34“ datiert (M 322 Sk3 T. {1A}, {1B}, {1C–2A}, 1D–2B). Die vorangegangenen Skizzen (M 322 Sk1 und M 322 Sk2) sowie möglicherweise M 322 Sk3 Takt {1A}, {1B}, {1C–2A} waren also vermutlich vor der Nachricht an Jone vom 17. Oktober begonnen worden. Anfang November scheint Webern bereits an der endgültigen Verlaufsskizze gearbeitet zu haben,169 die laut Datierung im Skizzenbuch am 15. November fertiggestellt wurde (M 322 Sk4 T. 21C).
",
+ "Wann Webern die Reinschriften der beiden neuen Lieder anfertigte und sich entschied, die Reihenfolge des zweiten und dritten Liedes sowohl entgegen der Anordnung in Die Freude als auch der Chronologie ihrer Komposition zu vertauschen und die Sammlung damit abzuschließen, ist nicht dokumentiert. Da Webern das Projekt in seinen Briefen ab Dezember 1934 nicht mehr erwähnt, sondern stattdessen insbesondere mit seiner Bearbeitung der Fuga (Ricercata) a 6 voci aus Bachs Musikalischem Opfer (M 323) beschäftigt gewesen zu sein scheint, dürfte die Reinschrift der vollständigen und als op. 25 gezählten Lieder-Sammlung (E) spätestens vor Ende 1934 beendet worden sein.
",
+ "In einem Brief an Erwin Stein von Mitte Oktober 1938, einem ehemaligen Schönberg-Schüler und UE-Mitarbeiter, der kurz zuvor nach London emigriert und bei Boosey & Hawkes eine Tätigkeit als Lektor aufgenommen hatte, erwähnte Webern die „Drei Lieder mit Klavier op. 25, nach Gedichten von H. Jone“ als „ein noch nicht gedrucktes und auch noch in keinem Verlag aufgenommenes Lieder-Heft“.170 Ob Webern sie gleichwohl bereits zuvor der Universal Edition angeboten hatte, ist nicht bekannt. Erst zu Weberns 60. Geburtstag 1943 – und vermutlich im Zusammenhang einer möglichen Aufführung (siehe unten) – wurde Webern ein Druck der Lieder von der Universal Edition in Aussicht gestellt, zu dem es allerdings zu Lebzeiten Weberns nicht mehr kam.171 Publiziert wurden die Lieder von der Universal Edition erst postum 1956.
",
+ "Die Uraufführung der Drei Lieder op. 25 war – zusammen mit der der Drei Gesänge op. 23 durch Marguerite Gradmann-Lüscher und Paul Baumgartner – im Rahmen eines Konzertes der Basler Sektion der IGNM am 5. Dezember 1943 geplant. Hierzu hatte die Universal Edition offensichtlich zwei heute verschollene fotographische Reproduktionen von Weberns Autograph hergestellt und vermutlich an Erich Schmid gesendet.172 Im Konzert wurden die Drei Lieder op. 25 jedoch nicht gebracht. Für einen die lyrischen Werke Jones präsentierenden „Abend zeitgenössischer Dichtung“ am 29. November 1944 im Erzbischöflichen Palais in Wien projektierten Jone und Webern eine Zeit lang eine Aufführung sowohl der Drei Gesänge op. 23 als auch der Drei Lieder op. 25,173 die dann von einer namentlich nicht bekannten „schwedischen Sängerin“ und Weberns Schüler Fré Focke auch schon geprobt wurden.174 Letztendlich kam diese Aufführung aber nicht zustande. Die Uraufführung fand erst nach Weberns Tod am 16. März 1952 in New York durch Bethany Beardslee (Gesang) und Jacques Monod (Klavier) statt.175
"
+ ],
+ "blockNotes": [
+ "156 | Webern an Schönberg, 21. März 1934 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18155]).
",
+ "",
+ "158 | Hildegard Jone, Die Freude, in: Die Schildgenossen 13/1 (September/Oktober 1933), S. 16–26, hier S. 16 („Wie bin ich froh!“), 18 („Sterne, Ihr silbernen Bienen der Nacht“) und 24 („Des Herzens Purpurvogel“): Jone_DF. Dieser Zyklus Die Freude ist nicht zu verwechseln mit Jones gleichnamigem Gedicht, das auch – ohne expliziten Titel – in den bereits 1932 publizierten Zyklus Viae inviae aufgenommen wurde und die Textvorlage für Weberns Drei Gesänge op. 23 war.
",
+ "159 | Vgl. Webern an Jone, 21. November 1933 (A-Wn, HS 431/1–112): „Und wie freu ich mich auf Ihre Gedichte im ‚Schildgenossen[‘]!“
",
+ "160 | Vgl. Webern an Jone, 6. Januar 1934 (A-Wn, HS 431/1–116): „Das Lieder-Manuskript [lies: von op. 23] möchte ich Ihnen doch erst als vollständiges (mit dem 3. Gesang) überreichen. Dann kommen wohl etliche ‚Stern‘-Gedichte!“
",
+ "161 | Webern an Humplik und Jone, 9. Juli 1934 (A-Wn, HS 431/1–131).
",
+ "162 | Webern an Schönberg, 18. Juli 1934 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22352]).
",
+ "163 | Webern an Jone, 18. Juli 1934 (A-Wn, HS 431/1–132). Im selben Brief, in dem ebenfalls Bachs bevorstehender Geburtstag angesprochen wird, deutet eine Bemerkung Weberns („Sie wissen ja, was ich ihm zugedenke“) an, dass er Jone inzwischen die „Gründe“ für die Komposition des Liedes mitgeteilt hatte.
",
+ "164 | Auch in einer Postkarte vom 8. August steht das Lied für sich allein (A-Wn, HS 431/1–134): „Ich hoffe, Ihnen u. Pepo [lies: Humplik] das alles bald nach meiner Rückkehr zeigen zu können! und freue mich darauf schon sehr. Das Lied ‚Wie bin ich froh‘[.]“
",
+ "165 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 378, der allerdings irrtümlich schreibt, dass Webern Bach zu diesem Anlass eine Reinschrift der Zwei Lieder op. 19 gewidmet und überreicht hätte. (Moldenhauer lag vermutlich B nicht vor.) Webern hatte die Zwei Lieder op. 19 Bach bereits zur Drucklegung des Werkes 1928 gewidmet.
",
+ "166 | Webern an Humplik und Jone, 12. September 1934 (A-Wn, HS 431/1–137).
",
+ "167 | Webern an Jone, 1. Oktober 1934 (A-Wn, HS 431/1–138). Welche „Lieder“ Jones Webern hier anspricht, ist nicht bekannt.
",
+ "168 | Webern an Jone, 17. Oktober 1934 (A-Wn, HS 431/1–139): „‚Sterne, Ihr silbernen Bienen‘ ist fertig. Jetzt bin ich bei: [‚]Des Herzens Purpurvogel fliegt durch Nacht‘[.]“
",
+ "169 | Webern an Jone, 9. November 1934 (A-Wn HS 431/1–140): „‚Des Herzens Purpurvogel‘ wird bald beendet sein. Ich war nur in der letzten Zeit etwas aufgehalten.“
",
+ "170 | Webern an Boosey & Hawkes (Erwin Stein), 17. Oktober 1938 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 223 f.). Aus dem Kontakt zu Boosey & Hawkes resultierte die Publikation von Weberns Streichquartett op. 28. Vgl. dazu auch Regina Busch, „Weberns Streichquartett op. 28 und das Schriftbild seiner Partituren“, in: Webern-Philologien, hg. von Thomas Ahrend und Matthias Schmidt, Wien: Lafite, 2016 (Webern-Studien 3), S. 41–76.
",
+ "171 | Vgl. Universal Edition (Alfred Schlee) an Webern, 1. Dezember 1943 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 284): „Es ist auch nicht richtig, wenn ich Ihnen die Mitteilung, dass die Lieder nun zum Stich gehen sozusagen als Geburtstagsgeschenk mache, denn es gehört sich natürlich schon längst, sie auch ohne den 60. Geburtstag herauszubringen.“ Vgl. den Kommentar der Herausgeberin ebd.: „Dass die Drei Lieder op. 25 nach diesem Brief ‚zum Stich‘ gegangen wären, ist nicht dokumentiert, ebensowenig ein Vertragsabschluss.“
",
+ "172 | Vgl. Webern an Erich Schmid, 9. November 1943 (zitiert nach Erich Schmid, Lebenserinnerungen, Band 2: Briefe, hg. von Lukas Näf, Bern: Peter Lang, 2014, S. 812): „Was die Photokopie meiner Lieder op. 25 betrifft, […] so hoffe ich, dass die nun endlich in 2 Exemplaren bereits in Ihrer Hand sind. Trotzdem ich es immer wieder betrieb, hat sich doch die Herstellung (zeitbedingt) sehr verzögert.“ Schmid, der bei Weberns Aufenthalt 1940 in Basel Gradmann-Lüscher bei der Aufführung der Fünf Lieder nach Gedichten von Stefan George op. 4 sowie einer Auswahl der Vier Lieder op. 12 am Klavier begleitet hatte, war durch seinen Militärdienst für die im Dezember 1943 geplante Aufführung verhindert. Die beiden heute verschollenen Exemplare ([EF1–F2]) dürften Gradmann-Lüscher und Paul Baumgartner vermutlich vor dem Aufführungstermin gleichwohl zugekommen sein, die Zeit für die Einstudierung der Lieder hat dann aber wohl nicht mehr ausgereicht.
",
+ "173 | Vgl. z. B. Webern an Jone, 22. April 1944 (A-Wn, HS 431/1–284): „Am günstigsten wäre es ja, eine Sängerin zu finden, die einige von den sechs Klavier-Liedern – nach Texten von Dir – singen könnte.“
",
+ "174 | Webern an Jone, 10. August 1944 (A-Wn, HS 431/1–292): „Ich bekam Nachricht, dass die erwähnte schwedische Sängerin zugesagt hat u. bereits studiert.“
",
+ "175 | Moldenhauer, Anton von Webern (Anm. 18), S. 649 f.
"
+ ]
+ },
+ {
+ "blockId": "about",
+ "blockHeader": "Zur Edition",
+ "blockContent": [
+ "Die in der vorliegenden Abteilung versammelten Klavierlieder erscheinen in unterschiedlichen Editionsformen, die sich an der Überlieferungssituation ihrer Textfassungen orientieren: Die gedruckten Sammlungen werden als Werkeditionen vorgelegt. Die lediglich in Tintenniederschriften überlieferten Textfassungen dieser oder – wie im Fall der George-Lieder – im Entstehungsprozess gleichen Editionskomplexen zugeordneter Lieder werden als Texteditionen präsentiert. Eine Ausnahme von dieser Regel stellen die Drei Lieder op. 25 dar, die zu Lebzeiten Weberns nicht im Druck vorlagen. Die autographe Niederschrift der vollständigen Sammlung von op. 25 bietet jedoch alle Merkmale einer für den Druck bestimmten Stichvorlage, so dass eine Werkedition auch hier naheliegt und in textkritischer Hinsicht unproblematisch ist. Überlieferte Bleistiftskizzen werden innerhalb der Online-Edition der AWG als Skizzeneditionen präsentiert.
",
+ "Die George-Lieder Weberns werden in der vorliegenden Abteilung als ein zusammenhängender Editionskomplex behandelt. Dessen spätester Überlieferung – den beiden gedruckten Sammlungen von Opus 3 und Opus 4 – geht eine gemeinsame Entstehungsgeschichte voraus, die durch mehrere unterscheidbare Textfassungen sowie vier in die späteren Drucke nicht aufgenommene Lieder charakterisiert ist. Die in den Korrekturschichten der überlieferten Tintenniederschriften unterscheidbaren und vor den – als Werkeditionen vorgelegten – Drucken entstandenen Textfassungen werden mit Blick auf ihren Schreibstoff als Texteditionen präsentiert – darunter auch einige der zeitlich frühesten, mitunter skizzenhaft wirkenden Textfassungen. (Eine Skizzenedition würde in diesen Fällen im Vergleich zu den bei Webern in der Regel üblichen Bleistiftskizzen weniger Informationen zum Schreibprozess bereitstellen, da gegebenenfalls ante correcturam vorhandene Schichten durch spätere Rasuren selten sicher, meistens gar nicht zu entziffern sind.)
",
+ "Da insbesondere für die verschiedenen von Webern zwischen 1909 und 1919 konzipierten Zusammenstellungen von George-Liedern nicht immer eindeutig rekonstruiert werden kann, welche Textfassungen welcher Lieder in welcher Anordnung vorgesehen waren, werden die in den Quellen gleichwohl erkennbaren Textfassungen in der Print-Edition der vorliegenden Abteilung in zeitlicher Folge der Textfassungen jedes Liedes, die Lieder ihrerseits in alphabetischer Reihenfolge der Titel präsentiert.
",
+ "Die Rechtschreibung (insbesondere Groß-/Kleinschreibung) und mitunter spärliche Interpunktion des Gesangstexts zahlreicher Textfassungen der George-Lieder übernahm Webern in der Regel aus den Gedichtvorlagen. Diese Eigenarten wurden in den entsprechenden Texteditionen beibehalten. Ergänzungen oder Korrekturen der Gesangstexte orientieren sich ebenfalls an den George-Vorlagen und werden in den Textkritischen Anmerkungen aufgeführt. Abweichungen von den Gedichtvorlagen werden in den Textkritischen Anmerkungen durch einen Sic-Vermerk erläutert.
",
+ "Bei den im Vergleich zu den George-Liedern zahlenmäßig wenigen frühen Textfassungen einzelner Lieder der Editionskomplexe Vier Lieder op. 12 und Drei Lieder op. 25 wurde hinsichtlich der Anordnung ihrer Texteditionen entsprechend verfahren. Auch wenn die Eigenarten der jeweiligen Textvorlagen dieser Texteditionen nicht so charakteristisch wie im Falle der George-Gedichte sind, gelten die gleichen Grundsätze beim editorischen Umgang mit dem Gesangstext.
"
+ ],
+ "blockNotes": []
+ },
+ {
+ "blockId": "acknowledgements",
+ "blockHeader": "Dank",
+ "blockContent": [
+ "Der Herausgeber dankt zahlreichen Personen und Institutionen, die ihn bei der Arbeit auf vielfältige Weise unterstützt haben. Dieser Dank gilt vor allem den Mitarbeitenden der Archive und Bibliotheken, die digitale Reproduktionen ihrer Quellen für die Editionsarbeiten zur Verfügung gestellt bzw. Zugang zu den Originalen gewährt haben: Das Arnold Schönberg Center in Wien, die Music Division der Library of Congress in Washington D.C., die Morgan Library & Museum in New York City, die Musiksammlung der Österreichischen Nationalbibliothek in Wien, die Musiksammlung der Wienbibliothek im Rathaus in Wien sowie das Historische Archiv der Universal Edition in Wien. Besonderer Dank gilt der Paul Sacher Stiftung in Basel, die den größten Teil der erhaltenen Webern-Quellen aufbewahrt: Insbesondere Sabine Hänggi-Stampfli, Felix Meyer, Simon Obert und Andrietta Wahl waren hier immer wieder hilfsbereite und kenntnisreiche Ansprechpartner.
",
+ "Für die kollegiale und fruchtbare Zusammenarbeit sei auch allen aktuellen Mitarbeitenden des Projekt-Teams der AWG Michael Matter, Stefan Münnich, Simon Obert, Barbara Schingnitz und Matthias Schmidt, den ehemaligen Kolleginnen und Kollegen Julia Bungardt, Monika Kröpfl, Nikolaus Urbanek und Manuel Strauß sowie den Praktikantinnen und Praktikanten Tamara Ackermann, Yuta Asai, Daia Aschwanden, Madita Knöpfle und Youchen Yu gedankt.
",
+ "Bei der Konzeption und Einrichtung der Online-Edition boten Rita Gautschy (Swiss National Data and Service Center for the Humanities), Lukas Rosenthaler und Tobias Schweizer (Digital Humanities Lab der Universität Basel) sowie zahlreiche andere Mitarbeitende der genannten Institutionen Anregungen und Hilfe.
",
+ "Heinz Stolba von der Universal Edition in Wien gilt Dank für seine engagierte Kooperation.
",
+ "Für Hinweise, Feedback und Ratschläge aller Art seien schließlich Simone Hohmaier (Staatliches Institut für Musikforschung, Berlin), Juliane Brand (Karl Weigl Foundation, San Rafael, CA), Regina Busch (Wien), Felix Wörner (Basel) sowie Michelle Ziegler (Basel) sehr herzlich bedankt.
",
+
+ "Basel, den 14. Mai 2024 Thomas Ahrend
"
+ ],
+ "blockNotes": []
+ }
+ ]
+ },
+ {
+ "id": "en-awg-I-5",
+ "content": [
+ {
+ "blockId": "preamble",
+ "blockHeader": "",
+ "blockContent": [
+ "Series I, Section 5 of the Anton Webern Gesamtausgabe (AWG) presents the songs with piano accompaniment by Anton Webern in the versions (Textfassungen) to which he gave opus numbers and were either published during his lifetime or intended for publication (Opp. 3, 4, 12, 23 and 25), plus various individual songs (such as the George songs M 143–146) that are grouped together in clusters in this edition because the common circumstances of their composition imply that they belong together (such clusters are in the German-language documentation of the AWG referred to throughout as Editionskomplexe). Further clusters of songs that were not published during Webern’s lifetime, including those assigned opus numbers that later became obsolete (e.g. the Dehmel songs M 83, 119, 130–131), will be published in Series II, Section 5.
"
+ ],
+ "blockNotes": []
+ },
+ {
+ "blockId": "op3+4",
+ "blockHeader": "The George Songs",
+ "blockContent": [
+ "The earliest versions of Webern’s 14 songs with piano accompaniment to texts by Stefan George (M 133–146) were presumably composed between December 1907 and 1909. Together with the Five Movements for String Quartet M 147–151 and the Six Pieces for Large Orchestra M 152–157, they are among his first so-called atonal compositions. The two collections Five Songs from Der siebente Ring by Stefan George, Op. 3 and Five Songs on Poems of Stefan George, Op. 4 were published in 1919 and 1923 respectively. However, the specific songs collected in these opus numbers were not fixed from the beginning. Determining their content was a lengthy process, the various stages of which can no longer be reconstructed with certainty, and the musical text of most of these songs went through different versions.
",
+ "We can trace Webern’s initial reception of George’s work back to circa 1900, when he copied the poem “Indes deine mutter dich stillt” into one of his diaries.1 We have no documentary proof either of any compositional engagement with this poem on his part, nor of his having read more George. He may have had further contact with George’s poetry in the Ansorge Society in Vienna, where Webern and his student friend Karl Horwitz were active from 1904 onwards, and whose evening events included performances of George settings by Conrad Ansorge (Five Songs on Poems of Stefan George, Op. 14).2
",
+ "In the summer of 1907, Webern acquired an edition of George’s Das Jahr der Seele and, in the summer of 1908, copies of Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten and Der siebente Ring.3 Webern marked all these books with crosses and angle marks, some of them alongside the titles of poems that he set (though not next to all the ones he later composed); these also include the poems he used for choral works or orchestral songs (Entflieht auf leichten kähnen and Kunfttag III). Only in one case (Kunfttag II) do we find a mark next to a poem for which no musical setting is known by Webern. There are no documents to help us identify the criteria that Webern used when choosing texts from the volumes of poetry that were available to him.4
",
+ "One incentive for Webern’s compositional engagement with George’s poems presumably came from Arnold Schoenberg’s own settings. Schoenberg had composed the song “Ich darf nicht dankend”, Op. 14, No. 1 on 17 December 1907 and numerous other songs for his growing cycle Fifteen Poems from The Book of Hanging Gardens by Stefan George, Op. 15, from March to May 1908 (we have definite proof that he composed the songs Op. 15 Nos. 3–8 at that time).5 In a letter dated 11 June 1908 from Webern to Schoenberg, there are indications that the former already knew some of the songs that the latter had completed by this time.6 Various features make it seem plausible that “Erwachen aus dem tiefsten Traumesschoße” M 143 represents Webern’s first setting of a poem by George for voice and piano, as it clearly refers to Schoenberg’s Op. 14, No. 1. Unlike most of Webern’s later songs, these two songs still have a key signature (as does his chorus “Entflieht auf leichten Kähnen” M 129, quite possibly written in 1907/08), which indicates a comparatively early date of conception. Given that the proven date of composition of Schoenberg’s Op. 14, No. 1 provides us with an earliest possible date for Webern’s song, the latter could have been composed between December 1907 and June 1908.7 A comparison of the handwriting and the types of music paper used suggests that the initial versions of the following songs (in one case: the sole extant version [einzige Textfassung]) could also have been written by mid-1908, including “Erwachen aus dem tiefsten Traumesschoße” M 143:
",
+
+ "“Dies ist ein Lied” M 133 (version 1 in A, version 2 in B) “Erwachen aus dem tiefsten Traumesschoße” M 143 (sole extant version in A) “Im Windesweben” M 134 (version 1 in A) Kunfttag I M 144 (sole version in A)
",
+
+ "Webern wrote to Schoenberg from Berlin in December 1908, requesting a letter of recommendation to Richard Strauss. He also discusses establishing contact with the Berlin publisher Max Marschalk of the Dreililien publishing company (which was probably suggested by Schoenberg). Webern goes on to say that he does not have enough material to make up a volume of songs:
",
+
+ "I don’t know, I’m so stupidly shy. That’s also why I haven’t yet been to Marschalk.
",
+ "If only I had a volume of songs ready. But this means he can’t take anything at the moment.
",
+ "On the one hand, I’d like to, but on the other hand –8
",
+
+ "Webern clearly did not consider either his four George songs (which were presumably finished by late 1908) nor his five Dehmel songs M 83, M 119, M 130–132 (which he had also already composed) to be suitable for publication.9
",
+ "Webern’s letter to Heinrich Jalowetz of 25 May 1909, written in Vienna, provides an explicit, dated reference to the composition of a George song: “I have – thank God – written something again. A song after George, ‘Trauer I’ (VII Ring).”10 Webern went to his family’s estate of Preglhof in Carinthia on 29 May and spent the ensuing weeks and months there, during which time he reported to Schoenberg on the completion of a first version of his Five Movements for String Quartet M 147–151 and on further plans for songs and orchestral works (the latter being the Six Pieces for Large Orchestra M 152–157).11 However, his plans were initially delayed by the death and funeral of his maternal grandfather, Anton Geer:
",
+
+ "Yes, for the reasons given above, I’ve only written one song since the quartet. Stefan George again. That was the day before yesterday and yesterday. Now a few more are on their way. I have so little peace here now. But it’s all still got to come together.12
",
+
+ "Webern’s visit to Carinthia was also interrupted – presumably from mid-July onwards – by a brief engagement at the theatre in Innsbruck. But by the end of July, Webern was writing to Schoenberg from Preglhof once again, and on 20 August he wrote:
",
+
+ "Meanwhile, I have written 2 songs and two orchestral pieces. The songs are yet again quite different from before. The orchestral pieces too, of course.13
",
+
+ "It is unclear precisely to which George songs Webern was referring in his letters to Schoenberg. The only George song by Webern that we can date more precisely thus remains Trauer I M 145, which he had written shortly before 25 May 1909, thus before his visit to Carinthia. Both the manuscript paper that he used and a clear shift in his handwriting style (when compared to the abovementioned songs that were probably composed in 1908) together suggest that, after Trauer I M 145, Webern also wrote the initial versions of the following songs in the course of the summer or autumn of 1909 (in some cases, these are the only versions of the songs in question):
",
+
+ "“An Bachesranft” M 135 (version 1 in E) “Das lockere Saatgefilde” M 146 (sole extant version in A) Eingang M 138 (version 1 in A) “Im Morgentaun” M 136 (version 1 in D [fragment], E and G) “Ja Heil und Dank dir” M 140 (version 1 in B) “Kahl reckt der Baum” M 137 (version 1 in E) “Noch zwingt mich Treue” M 139 (version 1 in B) “So ich traurig bin” M 141 (version 1 in B) Trauer I M 145 (sole extant version in A – before 25 May 1909)
",
+
+ "On the basis of our assessment of Webern’s handwriting, a further manuscript can also be assigned to this period: “Dies ist ein Lied” M 133 (version 2, which is the basic layer in C). Since the autograph of “Ihr tratet zu dem Herde” M 142 ([C]) has not survived, it is naturally impossible to use these criteria to determine whether it was also written in 1909 or already in 1908.
",
+ "In contrast to Webern’s compositions from before 1908 and after 1914, no conceptual sketches in pencil (i. e. continuity drafts, which were often dated) have survived for the George songs (the same applies to most other works composed in the same period). We only find pencil corrections to individual passages in the existing ink manuscripts. Webern commonly made such continuity drafts in pencil during other creative periods of his life, but it is impossible to make any general statement about whether this was also the case here, or whether the manuscripts in ink of the early versions of these songs served the function of a sketch during the compositional process.14
",
+ "Six George songs were given their world premiere on 8 February 1910 in Vienna, at a concert of the Verein für Kunst und Kultur (the “Association for Art and Culture” that was the successor of the Ansorge Society). The same concert featured Webern’s Five Movements for String Quartet M 147–151 and songs by Bruno Walter and Karl Weigl.15 Webern’s songs were sung by Martha Winternitz-Dorda, accompanied by the composer. Just a few weeks earlier, on 14 January 1910, she had sung the world premiere of Schoenberg’s Fifteen Poems from The Book of Hanging Gardens by Stefan George, Op. 15 in a concert of his works organized by the same Association for Art and Culture. The programme booklet for the concert of 8 February gave the texts of Webern’s six George settings (listed below) under the collective title “Songs after Stefan George”, arranged in two groups according to the poetry volumes from which they were taken. No opus number was given (in the following schematic summary, we name the version of the song that was presumably performed on this occasion):
",
+
+ "From Der siebente Ring Eingang M 138 (version 1) “Dies ist ein Lied” M 133 (version 2) “Im Windesweben” M 134 (version 2) “Kahl reckt der Baum” M 137 (version 1) From Das Jahr der Seele “Noch zwingt mich Treue” M 139 (version 1) “Ihr tratet zu dem Herde” M 142 (unknown version)
",
+
+ "Manuscript copies in other hands have survived of almost all these songs in F (see the List of Sources [Quellenübersicht] for Op. 3) and D (see the List of Sources for Op. 4) that were most likely made for this specific performance. These songs are numbered in pencil from “I” to “V” in these two sources; the numberings correspond to the order of the texts as given in the programme booklet (while no copy of “Ihr tratet zu dem Herde” M 142 [E] has survived, it no doubt existed and was presumably given the number “VI”). Certain musical and orthographic details in the copyist’s manuscripts seem especially clumsy, while their text underlay reveals similarities with the handwriting of Wilhelmine (Minna) Mörtl, who later became Webern’s wife. These manuscript copies generally contain numerous annotations by Webern himself, some of which (in “Dies ist ein Lied” M 133 most of all) entail a process of revision resulting in later versions of the song. However, some of the annotations in red crayon were probably made in the context of preparations for the first performances in February 1910, when the abovementioned copies were presumably used by the singer. When we consider the versions of the musical text that were most likely performed on that occasion, we can surmise that Webern probably played the piano accompaniment from the following sources:
",
+
+ "Eingang M 138: A (version 1) “Dies ist ein Lied” M 133: C (version 2) “Im Windesweben” M 134: E (version 2) “Kahl reckt der Baum” M 137: E (version 1) “Noch zwingt mich Treue” M 139: B (version 1) “Ihr tratet zu dem Herde” M 142: [C] (unknown version)
",
+
+ "Webern’s compositions that were performed in this concert in 1910 were given several negative reviews. As an example, we offer here a passage from Julius Korngold’s review in the Neue Freie Presse in which he also makes explicit reference to the previous month’s concert in which Schoenberg’s George songs, Op. 15, were given their first performance:16
",
+
+ "We were recently occupied with the case of Schoenberg, and now we also have the case of Anton v. Webern, even if both are basically one. For Mr v. Webern is Schoenberg’s pupil, one who not only swears by his master’s words, but in many a respect outdoes him. This is a good thing; one feels less stressed, and experiences an almost comfortable indifference. One was able to engage with [the work of] the teacher, and indeed one was compelled to do so, while that is not the case with his disciple. […] [his] six songs by Stephan [sic] George also tread along Schoenberg’s path, and not just in his choice of poet. Chords from the new theory of harmony are accompanied by a psalmodizing singing voice using the relevant intervals. Even a musically trained, receptive listener here undergoes the psychological experience of thinking he is always hearing the same thing. Here, however, the words provide a certain degree of expression, though admittedly it is an expression throughout of mental dejection, of mental disintegration. If one listens in a spirit of good will, then one is reminded in their best moments of Octave Mirbeau’s painter, who ultimately only wanted to paint “souls”. . . .
",
+ "May the reader here forgive our grim merriment. But when performed on Shrove Tuesday, this music involuntarily infects our Ash-Wednesday criticism with a certain carnival mood.17
",
+
+ "The six songs that were given their first performance in 1910 were merely a selection of what were presumably a total of 14 George songs that Webern had already composed at that time. In two handwritten lists of titles, probably drawn up before the first performances of all the songs, he had already divided them into two groups designated “Op. 2” and “Op. 4”, with seven songs each.18 These two lists read as follows (with angle marks added in pencil, “[p]”, and in red crayon, “[r]”):
",
+
+ "Sieben Lieder nach Gedichten von Stefan George op. 2 [p] 1. Eingang. („VII. Ring“) [p + r] 2. „Dies ist ein Lied...“ („VII. Ring“) 3. „Erwachen aus dem tiefsten traumesschoße....“ | („Jahr der Seele“) [p + r] 4. „Im windes-weben.....“ („VII. Ring“) 5. Kunfttag 1. – [p + r] 6. „Kahl reckt der baum..“ – [p] 7. [„]Im morgentaun....“ – Anton von Webern Sieben Lieder op. 4 nach Gedichten von Stefan George 1. Trauer I („Maximin“)aus dem „VII. Ring“ 2. „Ja heil und dank dir....“ („Nach der Lese“) aus „Jahr der Seele“ [p + r] 3. „Noch zwingt mich treue....“ („Waller im Schnee“) aus „Jahr der Seele“ [p] 4. „An bachesranft....“ („Lieder I–IV [sic]“ aus dem VII. Ring“) 5 „Das lockere saatgefilde....“(„Gezeiten“) aus dem „VII. Ring“ 6 „So ich traurig bin.....“(„Sänge eines fahrenden Spielmanns“ aus „Die Bücher der Hirten- und Preisgedichte, der Sagen u. Sänge u[.] d. hängenden | Gärten“ [r] 7&ngsp;[p]&ngsp;„Ihr tratet zu dem herde....“ („Traurige Tänze“) aus „Jahr der Seele“
",
+
+ "Several elements in these two lists19 prove that they were not written at the same time. Given that the sequence of opus numbers that Webern had begun with his Passacaglia M 127 (his “Op. 1”) was interrupted by his Five Movements for String Quartet M 147–151 (designated “Op. 3”), he probably compiled his Seven Songs (“Sieben Lieder”) “Op. 2” earlier than the songs that his second list designated as “Op. 4” (this would also seem to be confirmed by the fact that his “Op. 2” contains all the songs that he had presumably composed by 1908).20 Despite the differences between them and the presumed chronological distance between the two lists, they both bear traces of having been reworked at the same time; they have the abovementioned angle marks in pencil and red crayon on the left, alongside several lines of text (in the last line of “Op. 4” also between the song number and the opening line). Furthermore, some numbers in the list for “Op. 4” (“1”, “5” and “6”) have been crossed out in pencil. It is possible that the red crayon markings denote the choice of songs for the performance of 8 February 1910 (in which case the angle mark next to “2. ‘Dies ist ein lied...’” in the list for “Op. 2” would also refer to “1. Eingang.” above it).21 All the George songs, plus the two lists themselves, must in this case have been written before the date of this concert, and these two collections of songs would then presumably also have been among the compositions that Webern presented at a meeting that Schoenberg had organized with the director of Universal Edition, Emil Hertzka, on 9 October 1909 (though none of these works was subsequently accepted by the publishing house).22
",
+ "However, these two compilations do not simply constitute more extensive versions of the collections later printed as Webern’s Opp. 3 and 4.23 For example, the ordering principle behind his Five Songs from Der siebente Ring by Stefan George, Op. 3, published in 1919, played no role in his selection of songs for “Op. 2”.24 In this Op. 3, Webern brought together all the texts that he had set to music from the poetic cycle Lieder (Songs) that George had included in Der siebente Ring and also kept those songs in the order of the original poems.25 “An Bachesranft” M 135, which features in this opus 3, also appears here in the list for “Op. 4”, while “So ich traurig bin” M 141, which was actually included in the Five Songs on Poems of Stefan George, Op. 4, published in 1923, was deleted from the list for the Seven Songs “Op. 4”.
",
+ "In early June 1911, Webern sent “some 10 songs” to the Dreililien publishing company in Berlin, together with his Five Movements for String Quartet M 147–151 and his Four Pieces for Violin and Piano M 161–164.26 It is impossible to determine just which songs he sent. After all these works had been rejected, Webern submitted the same compositions to the publisher Tischer & Jagenberg in Cologne in late September or early October,27 though again without any of them being accepted for publication.28
",
+ "In the autumn of 1911, Webern – along with Schoenberg and Alban Berg – received an invitation to contribute a musical supplement to the almanac Der blaue Reiter, published by Wassily Kandinsky and Franz Marc. For this he chose “Ihr tratet zu dem Herde” M 142. A letter that Webern wrote to Paul Königer reveals that he had also included this song in the selection sent to Tischer & Jagenberg:
",
+
+ "You want this song from me; yes, I have sent the two copies I possessed to the “blauer Reiter” and to the publisher.
",
+ "But if it is still possible, I shall copy it out again from the sketch and give it to you as a gift.29
",
+
+ "Webern had thus presumably sent the sources [C] and [E], neither of which has survived, to the Cologne publisher and to Der blaue Reiter. When the publisher Gerhard Tischer rejected his music in late December 1911 or early January 1912, Webern got his works back and was able to inform Königer that he would send the promised copy of the song: “You’ll get my song soon. By the way, it will appear in the ‘blauer Reiter’.”30 (In late January, Webern was sent “the proofs of my song”,31 i. e. presumably the proofs from the music engraver [F] that were engraved after the copy he had sent). Der blaue Reiter was published in May 1912, and Webern received his copy (with GH) in early June.32
",
+ "Already by the beginning of 1912, Webern was making plans for the private publication of a selection of nine songs together with others of his works, as he wrote in a letter to Berg:
",
+
+ "At Schoenberg’s insistence, I have decided to publish 4 of my works (Passacaglia, 9 songs, Quartet [the first] and the older 6 orchestral pieces) with Straube (just like Schoenberg’s Quartet No. II). So I’ve got a lot to do with regard to revising these scores.33
",
+
+ "This decision had been preceded by discussions with Schoenberg in February, whose diary records his having looked through several works by Webern, expressly mentioning his songs:
",
+
+ "Webern came on the afternoon in order to look through his songs with me (which he wants to publish). They again pleased me a lot. Truly an original talent. I can see that he’ll turn into something great.34
",
+
+ "In his personal copy (GH) of the song that he published in Der blaue Reiter, Webern revised the musical text and added the opus number “2”. In the two abovementioned lists of the two sets of seven songs “Op. 2” and “Op. 4”, however, this song was still classified under “Op. 4”. So “Ihr tratet zu dem Herde” M 142 (version 2) was presumably part of a new collection of “9 songs” designated “Op. 2” that constituted a selection from all 14 of Webern’s George songs and replaced the two previous compilations. Just which other songs also belonged to this new collection remains undocumented. Ultimately, no Straube publication of the four aforementioned opus numbers came about. In fact, only the orchestral pieces M 152–157 were published thus in 1913, as Webern’s “Op. 4”.
",
+
+ "Instead, in a letter to Schoenberg sent in the summer of 1912, Webern mentions his plan to submit a different selection of his compositions to Simrock, from which he intentionally excluded his songs:
",
+
+ "I’ll be sending the following to Simrock today already: the “Passacaglia”[,] the quartet and the violin pieces. I still haven’t copied out my songs properly, otherwise I would be sending them too. But I will speak of them in a letter. Perhaps he will then ask for the songs. By then I will have put them in order.35
",
+
+ "But just a few weeks later, Webern’s works were rejected once again.36 It remains unverifiable whether or not he had indeed subsequently “copied out [his] songs properly”. In early 1913, Webern ultimately sent an unspecified selection of his songs to the publishing house of Gadow in Hildburghausen, though again, clearly, without success.37
",
+ "In the summer of 1914, Schoenberg once more approached Universal Edition about Webern.38 After a conversation between Webern and Hertzka that took place on 25 June, it was finally agreed that the latter would publish “the score of Op. 4, the chorus and a booklet of songs or the violin pieces”39 by Webern the following year. However, no decision ever had to be made about whether to publish a volume of his songs or the Four Pieces for Violin and Piano M 161–164, because the First World War broke out just a few weeks after their meeting, and economic reasons forced the cancellation of their plans.40
",
+ "A few days before the outbreak of war, thanks to the mediation of Alban Berg and Alfred Kalmus, the possibility nevertheless arose for Webern to contribute something to a collective publication being prepared by Universal Edition entitled Das moderne Lied (“The Modern Song”).41 Webern submitted three songs – none of which can be identified today42 – but none was included in the volume.43
",
+ "An autograph title page by Webern, whose base layer was written in red ink, refers to a selection of nine George songs (fol. 8r in H): 44
",
+
+ "Neun Lieder | op[.] 6 [“6” corrected from: “5”; the whole line has been added subsequently in pencil] | nach Gedichten von Stefan George | komponiert | von | Anton von Webern.
",
+
+ "The change of opus number for the “Nine Songs” (“Neun Lieder”) from “Op. 2” to “Op. 5” (for the moment) was presumably made in 1914, when the chorus “Entflieht auf leichten Kähnen” M 129 was given the opus number “2” in Webern’s list of works. These songs were thus moved after both the string quartet compositions designated as “Op. 3”, namely M 147–151, M 171–174 and M 178–180, and the orchestral pieces M 152–157, which in the meantime actually appeared in a private print as “Op. 4”. Webern might have reordered these opus numbers when revising his compositions in late 1914 / early 191545 – possibly also with a view to the prospective publication of some of his works by Universal Edition in the second half of 1915. At some point, this collection of “Nine Songs, Op. 5” presumably included “Erwachen aus dem tiefsten Traumesschoße” M 143, which was subsequently given the designation “op[.] 5 No 2” in A. It is unclear when and why the number “Op. 5” was changed to “Op. 6” on the abovementioned title page in H (in 1914, the Four Pieces for Violin and Piano M 161–164 were presumably initially counted as “Op. 6”.) To what extent Webern might have altered the precise content of “some 10 songs” or his “9 songs” or “Nine songs” between 1911 and 1914 remains undocumented.
",
+ "In addition to Webern’s efforts to get a selection of his George songs into print, there were also repeated plans for further performances of them, after the abovementioned first performance of six songs in February 1910. An unspecified number of Webern’s songs was initially planned for inclusion in a concert in Vienna on 24 April 1911, for example, though they were dropped for various reasons.46 Webern temporarily considered replacing a performance of his Pieces for Violin M 161–164, planned for 29 June 1912 in Vienna, with “4 songs” instead.47 And when Schoenberg had the idea of a joint “evening of compositions” by Berg and Webern in Berlin in autumn 1913, Webern thought of including several songs alongside his string quartet compositions M 147–151, M 171–174 and M 178–180:
",
+
+ "And then songs by me. It would be nicest of all if [Marya] Freund sang. Do you think that could be organized? I would like to send her the songs soon. May I ask you for the address of Ms Freund?48
",
+
+ "In fact, one of the extant sources of “Dies ist ein Lied” M 133 (C) was found in the archives of the singer Marya Freund, who had sung the Wood Dove at the first performance of Schoenberg’s Gurre-Lieder on 23 February 1913.49 She was also due to sing Gustav Mahler’s Kindertotenlieder at what later became known as the “Skandalkonzert” on 31 March of that same year (whose programme included the world premiere of Webern’s Six Pieces for Large Orchestra “Op. 4” [M 152–157]), though the tumult that occurred on that evening meant that the Mahler songs were never performed.50 According to a note in her archives, the autograph came into her possession in “circa 1914”.51 However, she never sang the song in the context that had been envisaged because the concert programme was initially shortened,52 and then the very idea of the “evening of compositions” was dropped altogether. We do not know whether Freund actually sang this song – or any George songs by Webern – on any other occasion.
",
+ "After the world premiere of his six songs in 1910, it is likely that Webern’s George songs were only performed again after the end of the war. These performances were closely connected with the publication of his Five Songs from Der siebente Ring by Stefan George, Op. 3, by the publishing house of the Verein für musikalische Privataufführungen (the Society for Private Musical Performances) (L). On 6 April 1919, the Verein held a concert in which Felicie Hüni-Mihacsek sang “Four Songs, Op. 3” accompanied by Eduard Steuermann, though “An Bachesranft” M 135 was subsequently inserted as the third song when they were published two months later as Five Songs, Op. 3.53 On 6 June 1919, the same performers gave the world premiere of the complete collection of five songs, the score of which was also put on sale at the concert.54 We know almost nothing about the production process of this publication.55 The engraver’s copy [K] has not survived, though it must have included new versions of the musical text of some of the songs that are not documented in other sources. The Verein’s two performances in April and June are likely to have used manuscript sources containing earlier versions of the musical text; if not, then the copies in question have also not survived.56 Print L was completed only a few days before the second performance of June 1919,57 and contains the following songs:
",
+
+ "I “Dies ist ein Lied” M 133 (version 4)
",
+ "II “Im Windesweben” M 134 (version 3)
",
+ "III “An Bachesranft” M 135 (version 3)
",
+ "IV “Im Morgentaun” M 136 (version 3)
",
+ "V “Kahl reckt der Baum” M 137 (version 5)
",
+
+ "Webern finally concluded a contract with Universal Edition in August 1920, signing over the rights to his Op. 1 (Passacaglia M 127), Op. 2 (“Entflieht auf leichten Kähnen” M 129), Op. 3 (George songs M 133–137) and Op. 6 (Pieces for Orchestra M 152–157), and Universal subsequently also took on the remaining copies of the edition of the Five Songs from Der siebente Ring by Stefan George, Op. 3, that had been printed by the Verein in 1919.58
",
+ "For the publication of his Five Songs on Poems of Stefan George, Op. 4, Webern had a copy, I, made of the versions of the songs contained in his autograph fair copy H. It is unclear just when he had this done, though it was presumably not long after he signed the contract for the work in April 1923.59 Print J was published in August 1923 and contains the following songs:
",
+
+ "I Eingang (“Welt der Gestalten”) M 138 (version 3)
",
+ "II “Noch zwingt mich Treue” M 139 (version 3)
",
+ "III “Ja Heil und Dank dir” M 140 (version 2)
",
+ "IV “So ich traurig bin” M 141 (version 2)
",
+ "V “Ihr tratet zu dem Herde” M 142 (version 3)
",
+
+ "The world premiere of the Five Songs on Poems of Stefan George, Op. 4, was given by Jenny Jungbauer und Ilse Fromm-Michaels on 23 November 1923 in Hamburg at a cycle of concerts entitled “New Music” that was organized by Josef Rufer und Hans Heinz Stuckenschmidt. Webern was presumably not in attendance, nor had he been involved in preparations for the performance.60 The complete collection of Op. 4 was performed in Webern’s presence only on 10 February 1940 in Basel in a concert of the International Society for Contemporary Music (hereinafter ISCM) featuring Marguerite Gradmann-Lüscher accompanied by Erich Schmid, at which they also performed three of Webern’s Four Songs, Op. 12, alongside songs by Schoenberg and Berg.61
",
+ "As in the latter case, further performances of Webern’s George songs during his lifetime often took place in various combinations comprising selections from the published collections Opp. 3 and 4 and the Four Songs, Op. 12. In addition to the performances already mentioned from the years 1910, 1919 (the world premiere of Op. 3) and 1923 (the world premiere of Op. 4), we currently have documentary evidence of the following:
",
+
+ "– 20 November 1922, Prague, Verein für musikalische Privataufführungen, Felicie Hüni-Mihacsek and Eduard Steuermann: Five Songs from Der siebente Ring by Stefan George, Op. 3.62
",
+ "– 17 January 1925, Paris, Revue musicale, Ruzena Herlinger and Ernst Bachrich: Op. 3/1, 3/2, 3/3.63
",
+ "– 26 October 1928, London, Wigmore Hall, Ruzena Herlinger and Eduard Steuermann: Opp. 3/1, 3/2, 3/5, 12/1 and 12/4.64
",
+ "– 25 October 1929, Brussels, Palais des Beaux-Arts, Ruzena Herlinger and Stefan Askenase: songs from Opp. 4 and 12.65
",
+ "– 13 April 1931, Vienna, Small Hall of the Musikverein, Aenne Michalsky and Eduard Steuermann: Opp. 4/1, 3/1, 3/2, 3/5, 12/1 and 12/4.66
",
+ "– 18 November 1931, Amsterdam, Berthe Seroen and Phons Dusch: Opp. 3/1, 3/3, 12/2.67
",
+ "– 2 December 1933, Vienna, Small Hall of the Musikverein (Concert of the ISCM on the occasion of Webern’s 60th birthday), Aenne Michalsky and Eduard Steuermann: songs from Opp. 3, 4 and 12.68
",
+ "– 17 December 1934, Vienna, Ehrbar Hall, Felicie Hüni-Mihacsek and Eduard Steuermann: Five Songs from Der siebente Ring by Stefan George, Op. 3.69
",
+ "– 10 February 1940, Basel, Conservatory (Concert of the ISCM, Basel Section), Marguerite Gradmann-Lüscher and Erich Schmid: Five Songs on Poems of Stefan George, Op. 4 and Op. 12/2, 12/4 and 12/1.70
",
+ "– 28 March 1941, Zurich, guild house “Zur Saffran” (concert of the ISCM, Zurich Section “Pro Musica”), Marguerite Gradmann-Lüscher and Erich Schmid: Five George songs plus three songs from Op. 12.71
",
+ "– 5 December 1943, Basel, Conservatory, Marguerite Gradmann-Lüscher and Paul Baumgartner: Five Songs from Der siebente Ring by Stefan George, Op. 3.72
",
+
+ "Webern had personal contact with most of these performers, and in some cases he also assisted when they rehearsed his songs. In his personal copy of the Five Songs on Poems of Stefan George, Op. 4 (JH), we find various annotations pertaining to performances, and indications of durations. It is impossible to prove whether or not these are connected with one of the abovementioned performances (though perhaps with the first performance of the entire collection in Basel in 1940).
"
+ ],
+ "blockNotes": [
+ "1 | Anton Webern, “Drei frühe Tagebücher”, transcribed and with commentary by Barbara Schingnitz, in: Der junge Webern. Texte und Kontexte, ed. Thomas Ahrend and Matthias Schmidt, Vienna: Lafite, 2015 (Webern-Studien 2b), pp. 215–324, here 265 (Tagebuch II, fol. 19r–19v). Webern did not, however, copy this poem from George’s collection Das Jahr der Seele (Berlin: Blätter für die Kunst, 1897, pp. [21 f.]), but rather from Ernst von Wolzogen’s novel Das dritte Geschlecht (Berlin: Eckstein, [1899], p. 103), where it is quoted in a subtly altered version. See the commentary on Webern, “Drei frühe Tagebücher”, p. 305, and Cornelia Bartsch, “‘Bis endlich das Weib vor Weh vergeht…’ Geschlechtererzählungen des jungen Anton Webern”, in: Der junge Webern. Texte und Kontexte, pp. 169–197, especially pp. 196 f.
",
+ "2 | For example, on 11 February and 3 December 1904. See Conrad Ansorge 1862–1930. Ein Pianist des Fin de siècle in Berlin und Wien, ed. Eike Rathgeber, Christian Heitler and Manuela Schwartz, Vienna: Böhlau, 2017, pp. 421 f. and 425. See this book also for further information on Webern’s activities in the Viennese Ansorge Society.
",
+ "3 | Stefan George, Das Jahr der Seele, Berlin: Bondi, 31904, pp. 14 (Ja heil und dank dir…), 30 (Noch zwingt mich treue…) and 118 (Ihr tratet zu dem herde): George_DJdS; Stefan George, Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten, Berlin: Bondi, 31907, p. 74 (So ich traurig bin): George_DBdH; Stefan George, Der siebente Ring, Berlin: Blätter für die Kunst, 1907, pp. 126 (Eingang) and 157–161 (Dies ist ein lied, Im windes-weben, An baches ranft, Im morgen-taun, Kahl reckt der baum): George_DsR. Webern’s copies are held by CH-Bps, Anton Webern Collection (PSS AW B 1039–1041).
",
+ "4 | Albrecht Dümling has discerned biographical connections with the death of Webern’s mother in 1906 and the mourning motif that runs through most of the George poems that he set to music. See “‘Dies ist ein Lied für dich allein’. Zu einigen Motiven von Weberns Textwahl”, in: Anton Webern I, ed. Heinz Klaus Metzger and Rainer Riehn, Munich: edition text + kritik, 1983 (Musik-Konzepte Sonderband), pp. 251–261.
",
+ "5 | See Arnold Schoenberg, Lieder mit Klavierbegleitung, critical report, ed. Christian Martin Schmidt, Mainz 1989 (Complete Works Section I Series B 1/2 Part 1), pp. 171–176 and pp. 182–217.
",
+ "6 | Webern to Schoenberg, 11 June 1908 (US-Wc [cited as in the digitized copy in A-Was: ID 18181]): “Since you asked me yesterday how I liked your songs: I couldn’t quite say, i. e. express the impression that they made on me. It was very stupid the way I said it. But please believe me that your work and especially these new songs are my only, wonderful role models.”
",
+ "7 | See Thomas Ahrend, “Zu Anton Weberns George-Vertonung ‘Erwachen aus dem tiefsten Traumesschoße’. Eine Spurensuche”, in: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2011, ed. Simone Hohmaier, Mainz: Schott, 2011, pp. 53–74, here pp. 66 ff.
",
+ "8 | Webern to Schoenberg, 13 December 1908 (US-Wc [cited as in the digitized copy in A-Was: ID 21729]).
",
+ "9 | All the same, Webern later compiled song collections using these Dehmel songs, though he did not publish them. See Mathew R. Shaftel, “Anton Webern’s Complete Early Songs (1899–1909)”, in: The Anton Webern Collection. Early Vocal Music, ed. Shaftel, New York: Carl Fischer, 2004, pp. iii–xiii, here p. xiii.
",
+ "10 | Webern to Jalowetz, 25 May 1909 (Anton Webern, Briefe an Heinrich Jalowetz, ed. Ernst Lichtenhahn, Mainz: Schott, 1999 [Veröffentlichungen der Paul Sacher Stiftung 7], p. 129).
",
+ "11 | Webern to Schoenberg, 16 June 1909 (US-Wc [cited as in the digitized copy in A-Was: ID 21801]): “I have already written a whole string quartet. It has 5 movements. [...] This Saturday I’m going to Klagenfurt with my father, which we’ll use as our base for a few small excursions along the Wörtersee [sic] and into the Karawank Mountains. I’ll be back here by the middle of next week. Then I first want to write a few songs[.] Then [something] for orchestra. I can hardly wait.”
",
+ "12 | Webern to Schoenberg, 10 July 1909 (US-Wc [cited as in the digitized copy in A-Was: ID 21731]).
",
+ "13 | Webern to Schoenberg, 20 August 1909 (US-Wc [cited as in the digitized copy in A-Was: ID 21809]).
",
+ "14 | See Thomas Ahrend and Michelle Ziegler, “Anton Webern: Dies ist ein Lied M 133. Impuls [Ahrend]: Flüchtige Reinschrift oder sorgfältige Skizze? Überlegungen zu Anton Weberns frühester Niederschrift von Dies ist ein Lied M 133. Respondenz [Ziegler]: Bleistiftglück und Tintenbestimmtheit. Gedanken zu den Schreibstoffen im Kompositionsprozess von Anton Weberns Dies ist ein Lied”, in: Journal of the Arnold Schönberg Center 17 (2020), pp. 160–182.
",
+ "15 | [Programme:] “Verein für Kunst und Kultur. Kammermusik- und Liederabend moderner Komponisten, Wien, 8. Februar 1910”, US-NH, Karl Weigl Papers (MSS 73). Digital copy at: https://ark.dasch.swiss/ark:/72163/1/0806/EILT3bp7Sc2m9_8wWrVvsgb.20161121T080801Z. The Fünf Gesänge für eine tiefe Stimme by Franz Schreker that are also mentioned on this programme, to be performed by Theo Drill-Orridge and Clemens Kraus [sic, i. e. Clemens Krauss?] were left out because of an injunction against the singer; see r. h., “Feuilleton. Von neuen Tonwerken”, in: Wiener Zeitung, 17 February 1910 (Wiener Abendpost), pp. 1–2, here p. 2.
",
+ "16 | See also Julius Korngold, “Feuilleton. Musik. (Philharmonisches Konzert. – Konzertverein. – Arnold[-]Schönberg-Abend.)”, in: Neue Freie Presse, 26 January 1910 (morning edition), pp. 1–3, here p. 3: “In [Schoenberg’s] George songs[...] a psalmodizing singing voice joins in the sounds and sequences of the new Schoenbergian grammar. Except that here, the words communicate and provide expression, albeit too insistently in the manner of pretentious, morbidly sensitive moods.”
",
+ "17 | Julius Korngold, “Feuilleton. Novitäten im Konzertsaale”, in: Neue Freie Presse, 16 February 1910 (morning edition), pp. 1–3, here pp. 1–2. (“Oktave Mirbeau’s painter” is presumably the protagonist from Octave Mirbeau’s novel Dans le ciel [L’Écho de Paris 1892–1893].) For further reviews, see also Richard Specht, “Konzerte”, in: Der Merker 1 (1909/10), No. 10, p. 437, and r. h., “Feuilleton” (see note 15).
",
+ "18 | Both these leaves are held by CH-Bps, Anton Webern Collection. Facsimiles have been published in Ahrend, “Spurensuche” (see note 7), pp. 62 f. The order of these songs, without regard to the original spelling of the titles or to the annotations in them (see below), was already established by Moldenhauer in his “Prefatory Note” to Anton Webern, Four Stefan George Songs, ed. Peter Westergaard, New York: Carl Fischer, 1970, p. ii, and in Hans and Rosaleen Moldenhauer, Anton von Webern. A Chronicle of His Life and Work, London: Victor Gollancz, 1978, p. 118 f. See also the introduction to The Anton Webern Collection, ed. Mathew R. Shaftel, New York: Carl Fischer, 2004, p. xiii, who refers to the deletions made in the list for “Op. 4”, though he does not mention the annotations.
",
+ "19 | The lists were written on different types of paper; red ink was used for “Op. 2”, black ink for “Op. 4”; “Op. 2” was written mostly in German cursive script, whereas “Op. 4” uses cursive and Latin letters alternately; and the titles of the poetic cycles in George are only given in the case of “Op. 4”.
",
+ "20 | It is possible that the inclusion of Eingang M 138, “Im Morgentaun” M 136 and “Kahl reckt der Baum” M 137 in “Op. 2” indicates that the first versions of these songs – regardless of their writing style and the type of paper used – were in fact written before Trauer I M 145, which is at the head of the list of songs for “Op. 4”; in other words, they were written before the end of May 1909. However, it is notable that both collections contain an equal number of songs (seven each), which would seem to be a counterargument against Webern having made a purely chronological selection for these two collections.
",
+ "21 | In fact, the vertical stroke of this angle mark is the longest when compared with the others, i. e. it extends the farthest beyond the line in question. The form of this marking could well be understood as referring to both lines. For further possible interpretations, also of the other markings, see Ahrend, “Spurensuche” (see note 7), pp. 60–66.
",
+ "22 | See Schoenberg to Hertzka, 7 October 1909 (cited as in Julia Bungardt, “Einleitung”, in: Anton Webern, Briefwechsel mit der Universal-Edition, ed. Julia Bungardt, Vienna: Lafite, 2020 [Webern-Studien 5], p. 12): “Dear Director, as arranged, I hereby inform you that I shall visit you on Sunday morning at about 11:30 a.m., together with my pupil Dr Anton von Webern, in order to play you my piano pieces and compositions by Webern. […].”
",
+ "23 | See the explanations in Moldenhauer, Anton von Webern (note 18), p. 722 f., who tends to a contrary opinion. Regarding “Erwachen aus dem tiefsten Traumesschoße” and Kunfttag I, he writes: “originally planned for Op. 3”, and for Trauer I and “Das lockere Saatgefilde”, “originally planned for Op. 4”.
",
+ "24 | For a contrary opinion, however, see Robert W. Wason, “A Pitch-Class Motive in Webern’s George Lieder, Op. 3”, in: Webern Studies, ed. Kathryn Bailey, Cambridge: Cambridge University Press, 1996, pp. 111–134, here p. 133: “[A]fter all, it seems likely that Webern would have set George’s lieder in continuity; moreover, Webern may well have experimented with various orderings later on, after having composed all fourteen songs, only to return to his initial conception for publication.”
",
+ "25 | The cycle Lieder in George’s Der siebente Ring is divided into a “Vorklang” (“prelude”) and several numbered sequences of poems plus individual poems. In his Op. 3, Webern arranged his first to fifth songs in the same order as in their source; they were all taken from the first sequence of George’s Lieder, namely “Lieder I–VI”. He did not set the sixth song of the sequence, “Kreuz der strasse ...”. The designation “(Lieder I–IV)” after “An bachesranft....” in Webern’s list for his Seven Songs “Op. 4” is probably a mistake, the intended designation being “I–VI”.
",
+ "26 | Webern to Schoenberg, 5 June 1911 (US-Wc [cited as in the digitized copy in A-Was: ID 21863]): “I’m quickly organizing a copy of my quartet myself and will send it, the violin piece[s] and some 10 songs.” See also Moldenhauer, Anton von Webern (note 18), p. 145.
",
+ "27 | See Webern to Schoenberg, 30 September 1911 (US-Wc [cited as in the digitized copy in A-Was: ID 21900]): “The ‘Dreililien’ publishing house has sent my things back. They ‘unfortunately’ could not decide to [publish them]. I will now send them to D[r] Tischer.”. – See also Webern to Jalowetz, 23 October 1911 (Webern, Briefe an Heinrich Jalowetz [note 10], pp. 168–171, here p. 169: “[…] I have sent Dr Tischer several things for his publishing house (prompted by Schoenberg).” Moldenhauer, Anton von Webern (note 18), p. 155, and the commentary to Webern, Briefe an Heinrich Jalowetz [note 10], p. 172, write of “nine George songs”.
",
+ "28 | See Webern to Gerhard Tischer (Tischer & Jagenberg), 2 January 1912 (Moldenhauer, Anton von Webern [note 18], p. 140): “I regret very much that you are not accepting my compositions for publication”, and Webern to Königer, 11 January 1912 (A-Wn, HS 975/7–8): “Dr Tischer has sent my music back to me. So I’ve been rejected for the third time.” Webern is presumably counting the meeting that Schoenberg organized with Hertzka on 9 October 1909 (see above, note 22) as the first of these attempts to get a publisher.
",
+ "29 | Webern to Königer, 23 November 1911 (A-Wn, HS 975/7–6). The “sketch” mentioned in this passage from the letter remains unidentified. As far as we can determine, Webern did not copy out the song again, and it is unclear as to whether the sketch he mentions actually existed. See also Stefan Münnich, “Quellenverluste (Deperdita) als methodologischer Unsicherheitsbereich für Editorik und Datenmodellierung am Beispiel von Anton Webern’s George-Lied op. 4 Nr. 5”, in: Die Modellierung des Zweifels – Schlüsselideen und -konzepte zur graphbasierten Modellierung von Unsicherheiten, ed. Andreas Kuczera, Thorsten Wübbena and Thomas Kollatz, Wolfenbüttel: Forschungsverbund Marbach Weimar Wolfenbüttel, 2019 (Zeitschrift für digitale Geisteswissenschaften / Sonderbände 4), online resource, DOI: 10.17175/sb004_005. In our Critical Report, we refrain from hypostatizing the possible existence of this further, inextant source.
",
+ "30 | Webern to Königer, 11 January 1912 (A-Wn, HS 975/7–8).
",
+ "31 | Webern to Berg, 25 January 1912 (cited as in Briefwechsel Anton Webern – Alban Berg, ed. Simone Hohmaier and Rudolf Stephan [Briefwechsel der Wiener Schule 4], publication in preparation): “The day before yesterday I got the proofs of my song that will appear in the ‘blauer Reiter’. Did you also get [the proofs of] your song? Schoenberg is bringing his new song ‘Herzgewächse’.”
",
+ "32 | Webern to Schoenberg, 13 June 1912 (US-Wc [cited as in the digitized copy in A-Was: ID 21913]): “I have finally received the ‘blauer Reiter’.”
",
+ "33 | Webern to Berg, 19 February 1912 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]). Schoenberg’s Second String Quartet, Op. 10, had been published using the Straube lithographic press in February 1909. The “first” Quartet refers to Webern’s Five Movements for String Quartet M 147–151, to distinguish these from his Four Pieces for String Quartet M 171–174, composed in 1911, which in their later versions became four of his Six Bagatelles for String Quartet, Op. 9. His “older 6 orchestral pieces” M 152–157 are similarly to be differentiated from his orchestral pieces M 169–170, also composed in 1911, which were later subsumed into his Five Pieces for Orchestra, Op. 10.
See also Webern to Königer, 20 February 1912 (A-Wn, HS 975/7–10). The sequence of the compositions mentioned in these letters provides us with the following series of opus numbers: Passacaglia (Op. 1), “9 Songs” (Op. 2), String Quartet (Op. 3) and Pieces for Orchestra (Op. 4).
",
+ "34 | Arnold Schoenberg, Berliner Tagebuch, ed. Josef Rufer, Frankfurt am Main: Propyläen, 1974, p. 25 (15 February 1912). See also ibid., p. 20 (5 February 1912): “Looked at Webern’s ‘Passacaglia’. Truly excellent. Very good and highly original. Webern will surely become something extraordinary”, and ibid., p. 27 (17 February 1912): “The Weberns visit us on the evening. They play a very beautiful song by Webern that Winternitz sang back then. I only see now how beautiful it is. A true song; and [I see how] Winternitz sang it equally without meaning and soul, just as she sang my George songs.”
",
+ "35 | Webern to Schoenberg, 9 August 1912 (US-Wc [cited as in the digitized copy in A-Was: ID 21931]). Schoenberg had already written to Simrock, recommending Webern’s compositions to them (see Bungardt, “Einleitung” [note 22], pp. 14 f.).
",
+ "36 | Webern to Schoenberg, 10 September 1912 (US-Wc [cited as in the digitized copy in A-Was: ID 21939]): “[…] I got my compositions back from Simrock today. He writes that he can’t publish them.”
",
+ "37 | See Webern to Schoenberg, 4 January 1913 (US-Wc [cited as in the digitized copy in A-Was: ID 21970]): “I will soon send my songs (a selection of them) to this publisher. Perhaps something will come of it after all”, and Webern to Schoenberg, 20 January 1913 (US-Wc [cited as in the digitized copy in A-Was: ID 21975]): “Today I am finally sending my songs to Gadow in Hildburghausen. I am eager [to know] if something will come of it.” For information on the publishing house Gadow, which is barely known today, see Rudolf Schmidt, Deutsche Buchhändler. Deutsche Buchdrucker, vol. 6, Eberswalde: n. n., 1908, p. 1072: “Besides publishing 7,600 copies of the ‘Tägliche Nachrichten’ and the ‘Hildburghäuser Kreisblatt’ [...], this company is primarily engaged in publishing schoolbooks, collections of songs for choir, and calendars. This printing company prints books, commercial materials and especially music.”
",
+ "38 | See Hertzka to Schoenberg, 24 June 1914 (cited as in Bungardt, “Einleitung” [note 22], p. 24): “If general conditions have improved by next year and the Amsterdam performance of the orchestral pieces (Webern’s) or any other performances of Webern will have taken place, then I shall accept something of his for Universal Edition, because I know that this will make you happy.”
",
+ "39 | Webern to Jalowetz, 28 June 1914 (Webern, Briefe an Heinrich Jalowetz [note 10], p. 311). See also Webern to Schoenberg, 25 June 1915 (US-Wc [cited as in the digitized copy in A-Was: ID 18255]): “Oh, God, this is wonderful. So I’ll have to wait until the second half of next year. Hertzka promised me that he will definitely publish something around that time; the chorus and a volume of songs or the violin pieces.”
",
+ "40 | See Bungardt, “Einleitung” [note 22), pp. 25 f.: “Given the new situation, the company’s priorities shifted with regard to how they might utilize their available capacity for promising and ‘contemporary’ projects and products, which now primarily comprised ‘war music’ and works of music theatre. In 1915 and in the subsequent war years, they accordingly signed initial contracts with composers who were ‘new to our publishing house’. However, contributions by Webern to those genres were neither forthcoming, nor to be expected.”
",
+ "41 | Das moderne Lied. Eine Sammlung von 50 Gesängen für mittlere Stimme, ed. Josef V. v. Wöss, Vienna: Universal Edition, 1915. See also Berg to Schoenberg, 20 July 1914 (cited as in Briefwechsel Arnold Schönberg – Alban Berg, ed. Juliane Brand, Christopher Hailey and Andreas Mayer [Briefwechsel der Wiener Schule 3], vol. 1, p. 492): “Anyway, we’ll be writing to Webern for a song. I think he’ll send one of his George songs.”
",
+ "42 | See Webern to Hertzka, 23 July 1914 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], p. 87): “In response to your letter of 20 July, I am sending you 3 songs of mine to choose from. I hope that these songs are short enough.” See also Webern to Hertzka, 29 September 1914 (ibid., pp. 87 f.): “Please let me know whether the two songs of mine that I sent to Universal-Edition in July at their request for possible inclusion in their collection ‘Das moderne Lied’ are still needed. If not, please send the songs back to me as soon as possible. I have no other copies of them.” It is unclear why Webern only mentions two songs here, not three.
",
+ "43 | See Kalmus to Berg, 27 July 1914 (cited as in Bungardt, “Einleitung” (note 22), p. 25): “[…] including your song (and also the song by Dr v. Webern) [would] entail rearranging the content of the whole volume [...], meaning that we would have to organize a very different order for the songs that are already being engraved […].”
",
+ "44 | This title page is also mentioned by Elmar Budde (though without any reference to the corrected opus number): Anton Weberns Lieder op. 3. Untersuchungen zur frühen Atonalität bei Webern, Wiesbaden: Steiner, 1971 (Beihefte zum Archiv für Musikwissenschaft 9), p. 13, and Moldenhauer, Anton von Webern (note 18), p. 119. The same title page also bears the title – written and framed in pencil – “5 Lieder | op. 4 [corrected from ‘5’]”, which presumably refers to the Five Songs on Poems of Stefan George that were published as Op. 4 in 1923. The entire page has been crossed out several times, and it is part of the back page of a sheet of paper used as a cover for the fair copy of the Five Songs, Op. 4, in H.
",
+ "45 | See Webern to Jalowetz, 10 January 1915 (Webern, Briefe an Heinrich Jalowetz [note 10], pp. 332–334, here p. 333: “I had been busy with revising, partially reworking, re-orchestrating and copying my previous things etc. Now, I think, everything is in order, as far as I’m able to judge it myself.”
",
+ "46 | This concert ultimately featured again Webern’s Five Movements for String Quartet M 147–151 and the first performance of his Four Pieces for Violin and Piano M 161–164. See “Neue Kompositionen von Alban Berg, Karl Horwitz und Anton von Webern”, 24 April 1911, Vienna, Ehrbar Hall. Reprint of the programme in Alban Berg, ed. Erich Alban Berg, Leben und Werk in Daten und Bildern, Frankfurt am Main: Insel, 1976, p. 119. See also Webern to Berg, 14 April 1911 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “I don’t have my songs here at all; they are in Berlin with my wife. And she is at present in a sanatorium; apart from a woman caretaker, no one is there who could get into the apartment. And it will be too late by the time I come to Vienna. This young lady will hardly be able to learn these songs in 3 days. It won’t be possible like that.” We do not know who had been proposed to sing these songs.
",
+ "47 | Webern to Berg, 2 June 1912 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “I think it would work quite well to do 4 of my songs instead of my violin pieces (if they are not possible). [...] I think that it’ll be OK with Winternitz if she sings something else that evening. [...] But hopefully it will all be unnecessary, and Rosé will play.”
",
+ "48 | Webern to Schoenberg, 7 October 1913 (US-Wc [cited as in the digitized copy in A-Was: ID 22024]).
",
+ "49 | See e. g. Neue Freie Presse, 20 February 1913, p. 13.
",
+ "50 | See e. g. “Große Lärmszenen im Musikvereinssaale. Bei einem Arnold[-]Schönberg-Konzert”, in: Neue Freie Presse, 1 April 1913, p. 13.
",
+ "51 | See the leaf inserted before fol. 1 in C: “Le manuscript fut venus à Marya Freund vers 1914.” If this date is correct, this would also be a terminus ante quem for the composition of version 3 of the song in C and the corresponding layer of corrections in F. This note was presumably made by Freund’s son, Dodo Conrad (“D. C.”).
",
+ "52 | See Webern to Schoenberg, 12 October 1913 (US-Wc [cited as in the digitized copy in A-Was: ID 22025]): “We will shorten the programme. Perhaps without the vocal stuff.”
",
+ "53 | Verein für musikalische Privataufführungen in Wien, “Mitteilungen Nr. 5”, 16 March 1919 (A-Was, Resource ID 4957), pp. 2 and 7 (programme No. 45): “Four Songs, Op. 3, from Der siebente Ring by Stefan George”. We know nothing about why the song was omitted that was later made No. 3. It is possible that Webern’s idea for this collection at that time indeed only encompassed four songs, and that he changed the number for the repeat performance and for the work’s publication (which he might well have only begun to plan at this time).
",
+ "54 | See Gottfried Kassowitz to Berg, 7 June 1919 (A-Wn, F21.Berg.920/15 Mus Mag): “The performance of the Webern songs was again quite wonderful [...]. [...] Should I have sent you the Webern songs? [...] They were available for sale punctually yesterday, in time for the performance, and they have come out very well, both in their extremely clear, beautiful engraving and in their very beautiful external appearance.” See also Berg to Webern, 18 June 1919 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “I finally have the engraved songs too! They have turned out very beautiful. I am really happy about them. These songs and Pierrot are now the only scores that I have here.”
",
+ "55 | See Bungardt, “Einleitung” (note 22), p. 26: “The songs […] were engraved and printed by Waldheim-Eberle at the expense of the Verein and on Schoenberg’s initiative.”
",
+ "56 | The List of Sources in our Critical Report does not include such sources that may not have survived.
",
+ "57 | The dedication copy for Schoenberg (A-Was, PM_Lg14) is dated “4. VI. 1919 Mödling”, i. e. two days before the work’s complete performance at the Verein’s concert. The dedication reads: “Dearest friend, the fact that I have written these songs, that they have been sung and ultimately also engraved: I owe all this to you. I can only express my gratitude to you by saying: accept once again the assurance of my everlasting loyalty and devotion. Your Webern.”
",
+ "58 | See Bungardt, “Einleitung” (note 22), pp. 26 and 30, and Webern, Briefwechsel mit der Universal-Edition, (note 22), Appendix, pp. 336 f. Universal Edition took on 137 copies and pasted its own publishing information over that of the Verein. A second edition, published by Universal Edition in the summer of 1923 (M), used the same engraving as the first (as do all later, posthumous editions).
",
+ "59 | Webern, Briefwechsel mit der Universal-Edition (note 22), Appendix, pp. 336 f.
",
+ "60 | See the extant concert programme in A-Was: CP 5580. See also the letter of 2 December 1923 from Rufer to Schoenberg (US-Wc [cited here as in the digitized copy in A-Was: ID 15189]): “[R]egrettably, Miss Jungbauer had such stage fright for the Webern songs that the first 3 failed completely, even though we sang through everything once more an hour before the performance and everything was quite impeccable!!”
",
+ "61 | See Moldenhauer, Anton von Webern (note 18), p. 524. See also Erich Schmid, Lebenserinnerungen, vol. 3: “Konzertprogramme und Radioaufnahmen”, ed. Lukas Näf, assisted by Othmar Wüthrich, Bern: Peter Lang, 2014, p. 48.
",
+ "62 | See Ivan Vojtěch, “Die Konzerte des Prager Vereins”, in: Schönbergs Verein für musikalische Privataufführungen, ed. Horst Weber, Munich: edition text + kritik, 1984, pp. 115–118, here p. 115.
",
+ "63 | See Webern to Hertzka, 21 March 1925 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 106 f., here p. 107): “[…] Mrs Herlinger sang songs by me”, and the commentary by the editor.
",
+ "64 | See Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936. Shaping a Nation’s Tastes, Cambridge: Cambridge University Press, 1999 (Music in the Twentieth Century 10), p. 345.
",
+ "65 | See Moldenhauer, Anton von Webern (note 18), pp. 265 f.
",
+ "66 | See the facsimile of the programme in Moldenhauer, Anton von Webern (note 18), p. 358.
",
+ "67 | See Universal Edition (Erwin Stein) to Webern, 18 November 1931 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 171 f., here p. 171): “[…] Amsterdam performed your 4 Songs Op. 12 and 2 songs from Op. 3 (I haven’t yet been able to find out which) on the 18th of this month”, plus the commentary of the editor.
",
+ "68 | See Moldenhauer, Anton von Webern (note 18), p. 403.
",
+ "69 | See Webern to Hildegard Jone, 10 December 1934 (A-Wn, HS 431/1–143): “On Monday, the 17th, in a concert of the Verein f. neue Musik [...] Ms. Mihascek [sic] [...] will sing my Songs Op. 3; (there are five); Steuermann will be accompanying. Ms. Mihascek [sic] was the first to sing the complete opus of these songs back then. I think she will do it beautifully again.” See also [Paul Stefan], “Konzert-Tagebuch”, in: Die Stunde, 19 December 1934, p. 4. See also Moldenhauer, Anton von Webern (note 18), p. 419.
",
+ "70 | See Moldenhauer, Anton von Webern (note 18), p. 524. See also Schmid, Lebenserinnerungen, vol. 3 (note 61), p. 48.
",
+ "71 | See Erich Schmid, Lebenserinnerungen, vol. 1: “Autobiographie”, ed. Lukas Näf, Bern: Peter Lang, 2014, p. 327, and ibid., vol. 3 (note 61), pp. 53 f. The songs performed on this occasion most likely comprised the same selection of Webern’s songs that the same performers had included in their concert of 10 February 1940 in Basel.
",
+ "72 | See Moldenhauer, Anton von Webern (note 18), pp. 553 f. This concert included the world premiere of the Three Songs Op. 23 by the same two performers.
"
+ ]
+ },
+ {
+ "blockId": "op12",
+ "blockHeader": "Four Songs, Op. 12",
+ "blockContent": [
+ "The dates of composition of the individual continuity drafts for the Four Songs, Op. 12 can be divided into two clearly separate phases. Webern initially composed “Der Tag ist vergangen” M 212 and “Schien mir’s, als ich sah die Sonne” M 213 in early 1915; in the spring of 1917, he wrote Gleich und Gleich M 216 and Die geheimnisvolle Flöte M 217. Both of these phases occurred during a creative period that lasted from ca 1914 to the mid-1920s that was notable for Webern’s having concentrated on vocal composition, especially works for solo voice with ensemble accompaniment, most of which were published from 1924 onwards in his Opp. 13–19 (cf. AWG I/4). The genesis of the Four Songs, Op. 12 should also be seen in this context. Since they were composed for voice and piano, the present edition has assigned them to AWG Section I/5.
",
+ "The gap of more than two years that occurred during the composition of the songs of Op. 12 was a result of a radical historical caesura: the First World War. When it broke out in late July 1914, it also forced Webern to change all his hitherto plans. He had been appointed as a conductor to various theatres from 1909 onwards, but had suffered repeated health problems, and so had undergone therapy with the psychoanalyst Alfred Adler from August to October 1913. After this, Webern once more felt in a condition to be able to assume conducting duties. He had accordingly accepted such a position in Stettin (today Szczecin in Poland) for the summer of 1914, but this engagement was cancelled because of the war. Webern was initially enthusiastic about the onset of war, and now sought to enrol in the military instead. However, his age and state of health meant that he was not called up until November 1914. In February 1915, he was stationed first in Klagenfurt and then in Gorizia as part of a “one-year” training course.73 Apart from several brief interruptions, Webern remained in military service until the end of 1916.
",
+ "The two songs with piano that Webern composed in January 1915 were the first compositions that he completed after the beginning of the war, and the only works that he completed before being deployed. Webern had written to Heinrich Jalowetz in mid-December 1914, saying that he had “begun something again”,74 and reported to him once more on 10 January about his continuing productivity – a few days before dating his continuity draft for “Der Tag ist vergangen” M 212 in A (13 January 1915): “I am now writing something new again, i. e. I’m really only just getting down to it.”75
",
+ "The text for “Der Tag ist vergangen” M 212 was taken from Peter Rosegger’s novel Peter Mayr, der Wirt an der Mahr. Eine Geschichte aus deutscher Heldenzeit.76 This book is about a historical figure from the so-called Tyrolean freedom struggles after 1805 whose crises of conscience are depicted as akin to the martyrdom of a saint. He is torn between his social and religious longings for peace on the one hand and his efforts to help attain political and national emancipation on the other. Webern had read the book in early 1915, as can be seen from his letter to Arnold Schoenberg of 9 January in which he quotes a lengthy passage from it about a revelatory religious experience.77 However, Rosegger had already been of great importance to Webern since 1912 at the latest, as is especially clear from the numerous times that Webern mentions him in his letters to Alban Berg and Schoenberg.78 Besides Webern’s interest in the religious sphere evoked in the book, its nationalistic tenor might well have corresponded to his own euphoria for the war after its outbreak in mid-1914. In this two-strophe poem (which in older editions of the novel was published as four strophes), Rosegger uses formulae from traditional, popular songs of pilgrimage.79 He situates his poem in an evening scene of an act of military resistance disguised as a mass pilgrimage, in which several pilgrims sing the “melancholy notes of this song” with “bright voices”.
",
+ "Webern presumably made the fair copy of version 1 of “Der Tag ist vergangen” M 212 in B shortly after the dated continuity draft. It is impossible to determine precisely when he made the revisions in A and B and the resulting copy of version 2 in C. Nevertheless, the red ink that he used for the text underlay in both B and C as well as the cursive script indicate that they were all made at a similar time, presumably before Webern was stationed in Klagenfurt. In any case, version 2 served as the engraver’s copy for the single print of “Der Tag ist vergangen” M 212 in the Musikblätter des Anbruch in May 1922 (E).80 When it was to be published in the collection Four Songs, Op. 12 (G) in 1925, Webern made his own engraver’s copy (version 3 in F). As with many of his other settings of Rosegger’s texts, Webern refrained here from indicating the author in all the copies and prints of this song. In his Four Songs, Op. 12, he identifies it as a “folk song”.
",
+ "In a letter to Schoenberg dated 21 January 1915, Webern tells him he has completed a “song with piano” (presumably “Der Tag ist vergangen” M 212) and mentions that he has “begun” two other songs.81 One of these might have been “Schien mir’s, als ich sah die Sonne” M 213, whose continuity draft in A is dated 31 January 1915 (the second song was presumably the Trakl setting “In der Heimat” M 214, which remained unfinished).
",
+ "The text of “Schien mir’s, als ich sah die Sonne” M 213 was taken from August Strindberg’s play Ghost Sonata (whose original Swedish title was Spöksonaten). A copy of the German translation by Emil Schering has been preserved in Webern’s library that bears the autograph date “2. VII[.] 09.” (which was Wilhelmine Mörtl’s 23rd birthday).82 Webern had already discovered Strindberg’s works in 1908, after which this author played a decisive role in his communications with both Schoenberg and Berg.83 The poem in question appears twice as a song in Schering’s edition of the play: at the close of the second act, and shortly before the end of the third and final act, when the (fatal) exchange between the “Student” and the “Young Lady” takes place. The song is sung by the Student, who is accompanied the first time by the Young Lady “on a harp”, while the second time, after the death of the Young Lady, it “whispers in the strings of the harp”.
",
+ "Webern had already begun a setting of this poem in a short sketch for women’s and children’s chorus (“Schien mir’s, als ich sah die Sonne” M 198), which he dated “Winter 1913/1914” (though this date was presumably added later). This sketch, however, never proceeded beyond the first line. The copy of the song with piano “Schien mir’s als ich sah die Sonne” M 213 in C was based on the continuity draft in A and bears numerous traces of having been revised. It is not possible, however, to discern the musical text unambiguously as it existed before those corrections. The use of cursive script and of the same red ink for the text underlay that we find in the copies of “Der Tag ist vergangen” M 212 in B and C suggests that the basic layer of “Schien mir’s als ich sah die Sonne” M 213 was written at roughly the same time. It is therefore possible that it was also composed before Webern was stationed in Klagenfurt in February 1915.
",
+ "No compositional efforts of Webern’s have survived from his time in the military in 1915 and 1916. He wrote to Jalowetz as follows in January 1917:
",
+
+ "I’m now recovering gradually from these 2 years – mentally. Only now can I really feel the effect. I’m slowly getting back on track, finding my way. I’m gradually remembering what I’d been thinking before, and where I had reached.84
",
+
+ "The first composition that Webern completed after his two years in the military was Gleich und Gleich M 216, whose continuity draft in A is dated 31 March 1917. This was only Webern’s second-ever setting of Goethe, after his song with piano Blumengruß M 2085 of 1903. We have no details of Webern’s Goethe reception before 1917, though we do find sporadic mentions of his having read the poet.86 According to the handwritten list of books and scores that Webern began keeping in the 1910s, he owned the following edition of Goethe: Sämtliche Werke. Jubiläumsausgabe in 40 volumes, Stuttgart and Berlin: Cotta, [1902–1912].87 Further traces of his compositional engagement with Goethe’s works during these years can be found in two further sketches/fragments from 1917 (Gegenwart for voice [baritone?] and piano M 220) and 1918 (Cirrus for voice and orchestra M 235).88
",
+ "Version 1 of Gleich und Gleich M 216 fully notated in C presumably dates from shortly after the continuity draft. It reveals changes that point to version 2 in F, which was prepared for the song’s publication in 1925. Another, unrevised copy of version 1, found in D, can be confirmed as postdating C, not least because its text underlay is written in Latin script. However, we do not know the precise date when this version was committed to paper, nor why it was made. The designation “Op. 12” in its title suggests that its earliest possible date is some time after April 1920 (see below).
",
+ "In one of his later lectures, “Wege zur neuen Musik” (“Paths to New Music”) of early 1932, Webern mentions the introductory measures of Gleich und Gleich M 216 as an example of his having already grasped intuitively the principles of later twelve-tone composition, since they present all twelve pitch classes of the chromatic scale. “The law was not yet known to us back then, but it had long been felt.”89 The next Goethe settings that Webern completed, the Two Songs for Mixed Chorus, Op. 19, only date from 1925/26. They are among his first explicitly twelve-tone compositions and are also the last settings of Goethe that he ever completed.
",
+ "The continuity draft of Die geheimnisvolle Flöte M 217 in A is dated 10 April 1917, thus immediately after Webern had completed Gleich und Gleich M 216 (though his letters of this time to Berg, Jalowetz and Schoenberg mention neither of these works). The text he set in Die geheimnisvolle Flöte is a free adaptation of a poem by the Chinese writer Li Tai-po (today more commonly referred to as Li Bai), taken from Hans Bethge’s collection Die chinesische Flöte (The Chinese Flute), which was first published in 1907. The copy of the fourth edition of this book that has survived in Webern’s library bears the handwritten date “3. 12. 12.” (thus 3 December 1912, his 29th birthday) on the reverse of the front cover.90 Webern will have been aware of several poems from this collection at least one year previously, as Gustav Mahler had set them in his Lied von der Erde, whose world premiere Webern had attended on 20 November 1911 in Munich.91 Webern composed Die Einsame M 199 from Die chinesische Flöte for voice and orchestra in February 1914, and followed this in July 1917 with In der Fremde M 223, later including both these songs in his Four Songs for Voice and Orchestra, Op. 13. Two more unfinished sketches by Webern have survived that use texts from Die chinesische Flöte: Nächtliches Bild M 233 (from autumn 1918) and Der Frühlingsregen M 244 (probably from 1920).
",
+ "The basic layer of the copy in C of Die geheimnisvolle Flöte M 217 (version “0”) can no longer be deciphered clearly. However, as in the case of Gleich und Gleich M 216, also in C, it was probably written shortly after the continuity draft and contains alterations in ink and pencil. Together with an intermediate stage that also cannot be determined with any clarity, these changes might have been pointing towards version 1 found in F, which was made with a view to publishing the song in 1925.
",
+ "It was in 1920 at the latest when Webern brought together these four songs with piano to form a collection with an opus number. It was presumably sometime after April 1920 that Webern drew up a handwritten list of his works for Universal Edition in which he designated these as “4 Songs with Piano” and gave them the number “Op. 10”.92 This is the number that they were originally given on the cover page of source C, though this was later deleted and corrected to “Op. 12”.93 This change was made no earlier than the beginning of 1921, when Webern was busy numbering other works. In an article published by Egon Wellesz in February 1921, these songs are explicitly mentioned as being Webern’s “opus 12”.94 The music examples given in this article were prepared on the basis of version 2 of “Der Tag ist vergangen” M 212 and version 1 of Gleich und Gleich M 216, and thus presumably used C as their source (or possibly D in the case of M 216 in the corresponding stage of corrections). In May 1922, version 2 of “Der Tag ist vergangen” M 212 was published separately (though with a remark that it belonged to Op. 12) as a music supplement to the Musikblätter des Anbruch (E). Webern revised his personal copy of “Der Tag ist vergangen” M 212, EH, resulting in version 3, and he revised Gleich und Gleich M 216 in C, resulting in version 2 of the song. By the turn of the year 1924/25 at the latest, Webern had produced an engraver’s copy, F, of his Four Songs, Op. 12, which he then offered to Universal Edition in a letter of 3 January 1925 to its director, Emil Hertzka, in which he mentioned it as being one of the works he “currently had ‘in stock’”. He clearly submitted the work to them shortly afterwards.95 On 12 June of that year, he sent the second proofs of the engraved music back to his publisher, and on 20 June he returned the proof of the title page.96 Print G of the Four Songs, Op. 12 was published on 30 September 1925 in an edition of 499 copies.97
",
+ "Webern received an enthusiastic reaction from Alban Berg, who wrote to him just a few days after these songs were published:
",
+
+ "What great pleasure you have given me, my dear, with your Op. 12! This is once again – just like everything by you – a real Webern. Even the way you have compiled the wonderful texts and have brought them together into a single whole! Not to mention the music! Yes, it seems to me as if I were to see you in a completely new way. What a tone you strike in the Strindberg song. And overall, what variety there is in these 4 songs. The last one, for example: such gracefulness. One can safely say that we will not find this anywhere else in the whole music repertoire –: such a song by you is for me a veritable fount of joy, a joy that shines out over my whole being. It’s like when the sun suddenly bursts forth on a gloomy day, and you just don’t know why you suddenly feel happy again.98
",
+
+ "The world premiere of Webern’s Op. 12 in its entirety took place on 8 January 1927 in the small hall of the Vienna Musikverein, sung by the Dutch singer Co van Geuns with Eduard Steuermann at the piano. The same concert saw the world premiere of Alban Berg’s Lyric Suite, performed by the Vienna String Quartet (the Kolisch Quartet), plus a performance under Webern’s baton of Johann Sebastian Bach’s Concerto for Four Pianos BWV 1065.99 Webern wrote to Schoenberg a few days later, offering a succinct commentary on the performance of his songs: “On the same evening as Berg’s quartet, a song opus of mine was also given its first performance. It went very well.”100 The Arbeiter-Zeitung afterwards featured a positive review of the concert in which it placed Berg’s work in the foreground and offered a comparatively brief report of Webern’s Four Songs, Op. 12:
",
+
+ "New songs by Anton W e b e r n, which Co van G e u n s sang with exceptional musicality, led by Eduard S t e u e r m a n n at the piano, were also a great success. Here, brief lyrical poems are pressed into musical forms whose composition cannot be clear to the impartial listener. So he must hold on to the expressive values that can be found here in abundance, even if the strange course of the singing voice makes it difficult to follow all the time. The songs had to be repeated and this made them easier to understand.101
",
+
+ "According to a diary entry by Webern, Gleich und Gleich M 216 had already been sung by a “Dutch [woman] singer” in October 1926,102 presumably also van Geuns, who also performed songs by Webern (probably also from Op. 12) and by Alexander Zemlinsky in Cologne sometime after the world premiere of the Four Songs, Op. 12 of early January 1927.103 As with the George songs, several performances during Webern’s lifetime (probably with his consent or even at his suggestion) took place at which only a selection of the Four Songs, Op. 12 was sung, or at which selected songs from that opus were combined with individual numbers from the George songs Opp. 3 and 4. Apart from the performances with van Geuns already mentioned above, we have proof of the following concerts having taken place:
",
+
+ "– 26 October 1928, London, Wigmore Hall, Ruzena Herlinger and Eduard Steuermann: Opp. 3/1, 3/2, 3/5, 12/1 and 12/4.104
",
+ "– 25 October 1929, Brussels, Palais des Beaux-Arts, Ruzena Herlinger and Stefan Askenase: songs from Opp. 4 and 12.105
",
+ "– 13 April 1931, Vienna, Small Hall of the Musikverein, Aenne Michalsky and Eduard Steuermann: Opp. 4/1, 3/1, 3/2, 3/5, 12/1 and 12/4.106
",
+ "– 18 November 1931, Amsterdam, Berthe Seroen and Phons Dusch: Opp. 3/1, 3/3, 12/2.107
",
+ "– 2 December 1933, Vienna, Small Hall of the Musikverein (Concert of the ISCM on the occasion of Webern’s 60th birthday), Aenne Michalsky and Eduard Steuermann: songs from Opp. 3, 4 and 12.108
",
+ "– 9 May 1935, Vienna, Musikverein (a concert of the Hertzka Memorial Foundation), Julia Nessy (voice): Four Songs, Op. 12.109
",
+ "– 21 November 1935, Vienna, Hagenbund (Concert of the Verein für neue Musik), Julia Nessy (voice): Four Songs, Op. 12.110
",
+ "– 10 February 1940, Basel, Conservatory (Concert of the ISCM, Basel Section), Marguerite Gradmann-Lüscher and Erich Schmid: Five Songs on Poems of Stefan George, Op. 4 and Op. 12/2, 12/4 and 12/1.111
",
+ "– 28 March 1941, Zurich, guild house “Zur Saffran” (concert of the ISCM, Zurich Section “Pro Musica”), Marguerite Gradmann-Lüscher and Erich Schmid: Five George songs plus three songs from Op. 12.112
",
+
+ "Webern had personal contact with most of these performers, and in some cases he also assisted when they rehearsed his songs. In his personal copy of the Four Songs, Op. 12 (GH), we find indications of the durations of the individual songs. We do not know if these were made in connection with any of the performances listed above.
"
+ ],
+ "blockNotes": [
+ "73 | Regarding these stations in Webern’s biography during the war, see Moldenhauer, Anton von Webern (note 18), pp. 174–189 and 209–222.
",
+ "74 | Webern to Jalowetz, 18 December 1914, in Webern, Briefe an Heinrich Jalowetz [note 10], pp. 329 f., here p. 329). It is possible that Webern is here referring to several fragments that were placed immediately before “Der Tag ist vergangen” M 212 in Moldenhauer’s work catalogue and dated by him “1914” or “1914 or later”, i. e. M 207–211. See Moldenhauer, Anton von Webern (note 18), pp. 702 and 736–739.
",
+ "75 | Webern to Jalowetz, 10 January 1915 (Webern, Briefe an Heinrich Jalowetz [note 10], pp. 332 f., here p. 333).
",
+ "76 | First published in Vienna: A. Hartleben, 1891. Webern presumably used the revised version of the novel as published in vol. 19 of Rosegger’s “Collected Works”, Leipzig: Staackmann, 1914, p. 214 (“Der Tag ist vergangen …”): Rosegger_PM. See Elisabeth Kaiser, Rosegger-Rezeption bei Anton Webern, Frankfurt am Main: Peter Lang, 2013, p. 77.
",
+ "77 | Webern to Schoenberg, 9 January 1915 (US-Wc [cited as in the digitized copy in A-Was: ID 18237]).
",
+ "78 | For an overview of the works by Rosegger that Webern is proven to have read, see Kaiser, Rosegger-Rezeption, (note 76), pp. 38–41. On 3 September 1914, Webern wrote enthusiastically to Berg that he had seen the writer on a train journey from Klagenfurt to Vienna (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “I saw Rosegger in Krieglach (on the return journey)[.] Wonderful. He travelled for one stop on the same train: to Langenwang.”
",
+ "79 | See Kaiser, Rosegger-Rezeption (note 76), pp. 76 f.
",
+ "80 | The text section of this journal writes the following about this song (N. N., “Anton v. Webern”, in: Musikblätter des Anbruch 4/9–10 [May 1922], p. 150): “Our music supplement provides an insight into the essence of his new compositions.” This music supplement correctly dates the song to 1915, thus seven years earlier.
",
+ "81 | Webern to Schoenberg, 21 January 1915 (US-Wc [cited as in the digitized copy in A-Was: ID 18240]).
",
+ "82 | August Strindberg, Gespenstersonate, in Strindberg, Kammerspiele, translated into German by Emil Schering, Munich and Leipzig: Georg Müller, 1908 (Strindbergs Werke. Deutsche Gesamtausgabe unter Mitwirkung von Emil Schering als Übersetzer, vom Dichter selbst veranstaltet. I. Abteilung: Dramen. Kammerspiele [9]), [No. 3], p. 46[c] (“Schien mirs, als ich sah die Sonne!”): Strindberg_Gs. Webern’s copy is held by CH-Bps, Anton Webern Collection, and bears the shelfmark AW B 1129. The manuscript date is given on p. [6].
",
+ "83 | Regarding the “influence of Strindberg” on Webern, see Ernst Lichtenhahn, “Einleitung”, in: Webern, Briefe an Heinrich Jalowetz (note 10), pp. 9–108, here pp. 80–88.
",
+ "84 | Webern to Jalowetz, 28 January 1917 (Webern, Briefe an Heinrich Jalowetz [note 10], p. 355).
",
+ "85 | In Moldenhauer, Anton von Webern (note 18), pp. 700 and 720, Blumengruß is designated “M 21”. This was corrected in the German edition (Anton von Webern. Chronik seines Lebens und Werkes, Zurich: Atlantis, 1980, pp. 640 and 651).
",
+ "86 | See e. g. Webern to Berg, 21 December 1911 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]: “I’m reading ‘Wilhelm Meister’ and am absolutely delighted by this book.”
",
+ "87 | Gleich und Gleich is found in vol. 1, Gedichte. Erster Teil, p. 19: Goethe_JA. No copies of this edition are known to be extant that might have been in Webern’s possession. The list is held by CH-Bps, Anton Webern Collection.
",
+ "88 | See Moldenhauer, Anton von Webern (note 18), p. 276. It was Moldenhauer who brought together these two compositions as “Two Goethe Songs” (ibid. p. 661); there is no documentary evidence in the sources to justify his having done so.
",
+ "89 | Anton Webern, Wege zur neuen Musik, ed. Willi Reich, Vienna: Universal Edition, 1960, p. 55 (lecture of 12 February 1932).
",
+ "90 | Hans Bethge, Die chinesische Flöte, Leipzig: Inselverlag, 4[1914] p. 35 (Die geheimnisvolle Flöte): Bethge_DchF. Webern’s copy is held in CH-Bps, Anton Webern Collection, shelfmark AW B 1027.
",
+ "91 | Webern in fact already knew the texts that Mahler had set in Das Lied von der Erde before that work was given its first performance. See Webern to Berg, 30 October 1911 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “When you’ve read the close of the texts of the ‘Lied von der Erde’ on the enclosed sheet, my dear, don’t you then expect the most wonderful music in existence; something so magnificent that it has never existed before. ‘Oh, my friend, fortune was not fair to me in this world! Wherever I go and wander in the mountains, I seek rest, rest for my lonely heart!...’ For heaven’s sake, what music this must be! I imagine I ought to be able to think of it already, before even having heard it. Goodness, can you stand it? I can’t.” Regarding the intense impression that Mahler’s composition made on Webern, also in the context of its supposedly ‘Chinese’ texts, see Matthias Schmidt, “Übersetzung ohne Original? Gustav Mahler, Anton Webern und Li Bai”, in: Der doppelte Po und die Musik. Chinesisch-Rätoromanische Studien, besonders zu Li Po, Harry Partch und Chasper Po, ed. Mathias Gredig, Marc Winter, Rico Valär and Roman Brotbeck, with editorial assistance from Daniel Allenbach, Würzburg: Königshausen & Neumann, 2021, pp. 281–299.
",
+ "92 | A-Wst, on deposit from Universal Edition, Anton Webern. The list is given as an illustration and transcribed in Julia Bungardt, “Einleitung” (note 22), pp. 28 f. This worklist extends as far as the Trakl songs Op. 14, here given as “Op. 12”.
",
+ "93 | Near this correction, we can also discern “13” in a further layer that has been erased.
",
+ "94 | Egon Wellesz, “Anton von Webern: Lieder opus 12, 13, 14”, in: Melos 2/2 (February 1921), pp. 38–40. See also Webern to Jalowetz, 13 March 1921 (Webern, Briefe an Heinrich Jalowetz [note 10, p. 481): “There was an article by Wellesz in Scherchen’s journal about my songs Opp. 12, 13 and 14. That really pleased me.”
",
+ "95 | Webern to Hertzka, 3 January 1925 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 101–104, here p. 101). See also Webern to Hertzka, 21 March 1925 (ibid., pp. 106 f., here p. 106): “Already in early January, I brought you a booklet of 4 songs with piano, Op. 12, and you held out the prospect to me that they would appear soon.” An initial contract dates from 5 February 1925 and a revised contract from 3 April 1925.
",
+ "96 | See Webern to Universal Edition, 12 June and 20 June 1925 (ibid., pp. 110 f.).
",
+ "97 | See ibid. (Appendix), pp. 340 f.
",
+ "98 | Berg to Webern, 12 October 1925 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]).
",
+ "99 | See the announcement of the concert in: Neue Freie Presse, 5 January 1927, p. 9. According to a review of the world premiere of Berg’s Lyric Suite, it was preceded by Ludwig van Beethoven’s Piano Trio in E-flat Major, Op. 70, No. 2 (see Neues Wiener Journal, 12 January 1927, p. 11; there is no mention here of either Webern’s songs or Bach’s concerto). According to an announcement in: Die Stunde, 9 January 1927, p. 1, Co van Geuns sang “songs by Anton Webern” again the next day in the small hall of the Musikverein. We have no details of this concert. In a letter to Jalowetz of 20 December 1926, Webern wrote of a total of six songs that were to be performed the following January: “In January, a Dutch singer will sing 6 songs by me here in Vienna.” (Webern, Briefe an Heinrich Jalowetz [note 10], p. 570). It is possible that van Geuns had prepared Op. 12 and a selection of Webern’s George songs.
",
+ "100 | Webern to Schoenberg, 17 January 1927 (US-Wc [cited as in the digitized copy in A-Was: ID 22230]).
",
+ "101 | pp. [Paul Pisk], “Neue Musik im Konzertsaal”, in: Arbeiter-Zeitung [Vienna], 11 January 1927, p. 7.
",
+ "102 | Anton Webern, notebook (CH-Bps, Anton Webern Collection). Cited as in Moldenhauer, Anton von Webern (note 18), p. 265. We have no details about this concert.
",
+ "103 | N. N., “Konzertierende Künstler und neue Musik”, in: Musikblätter des Anbruch 9/3 (March 1927), p. 153: “Co van G e u n s sang songs by Webern and Zemlinsky with success in Cologne.” See also Webern, Briefe an Heinrich Jalowetz (note 10), p. 572.
",
+ "104 | See Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936 (note 64), p. 345.
",
+ "105 | See Moldenhauer, Anton von Webern (note 18), p. 265. See also ibid., p. 266: “The same year, three of the Four Songs were heard in Frankfurt.”
",
+ "106 | See the facsimile of the complete programme in Moldenhauer, Anton von Webern (note 18), p. 358.
",
+ "107 | See Universal Edition (Erwin Stein) to Webern, 18. November 1931 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 171 f., here p. 171): “[…] Amsterdam performed your 4 Songs Op. 12 and 2 songs from Op. 3 (I haven’t yet been able to find out which) on the 18th of this month”, plus the commentary of the editor.
",
+ "108 | See Moldenhauer, Anton von Webern (note 18), p. 403.
",
+ "109 | See Webern to Josef Humplik, 8 May 1935 (A-Wn, HS 431/1–157): “Tomorrow evening, at 6:30, songs by Schoenberg, Berg and myself [the Four Songs, Op. 12] will be sung [...] at an event of the Hertzka Memorial Foundation.” We know that the singer was Nessy, given the connection with the performance of the Four Songs, Op. 12, on 21 November 1935 (see note 110 below). We can no longer determine who played the piano accompaniment.
",
+ "110 | See H. E. H., “Neue Musik im Hagenbund”, in: Wiener Zeitung, 23 November 1935, p. 9. The pianists for this concert were Olga Novacovic and Eduard Steuermann, though we are unable to determine which of them accompanied Webern’s songs. In Anton von Webern (note 18), p. 451, Moldenhauer erroneously states that Webern’s Concerto, Op. 24, was also performed at this concert, under the baton of the composer. In fact, Webern had announced this work for the concert programme but had then withdrawn it, and the Four Songs, Op. 12, served as its substitute. See Webern to Jone and Humplik, 20 November 1935 (A-Wn, HS 431/1–169): “Now I have to inform you that I have withdrawn my Concerto tomorrow [...]. [...] It is possible that the songs that you heard in May this year will be performed instead of the Concerto [since the same singer will be performing anyway].” See also the commentary of the editor in Briefwechsel Anton Webern und Minna Webern – Hildegard Jone und Josef Humplik. Korrespondenz 1926–1949, ed. Barbara Schingnitz, doctoral thesis, University of Basel, 2019.
",
+ "111 | See Moldenhauer, Anton von Webern (note 18), p. 524. See also Schmid, Lebenserinnerungen, vol. 3 (note 61), p. 48.
",
+ "112 | See Erich Schmid, Lebenserinnerungen, vol. 1 (note 71), p. 327, and ibid., vol. 3 (note 61), pp. 53 f. The songs performed on this occasion most likely comprised the same selection that the same performers had included in their concert of 10 February 1940 in Basel.
"
+ ]
+ },
+ {
+ "blockId": "op23",
+ "blockHeader": "Three Songs from Viae inviae by Hildegard Jone, Op. 23",
+ "blockContent": [
+ "The Three Songs from Viae inviae by Hildegard Jone, Op. 23, which Webern began in early 1933 and completed in March 1934, were his first songs with piano accompaniment to use the method of “composing with twelve tones” – as Webern usually referred to it – and they were also the first vocal work that he had completed since his Two Songs for Mixed Chorus with the Accompaniment of Celeste, Guitar, Violin, Clarinet and Bass Clarinet, Op. 19, composed between late 1925 and the summer of 1926. Webern’s title uses the term “Gesang” for “song”, not “Lied”, which serves as an indication of the extended length of the individual songs when compared to most of his other vocal works. These were also Webern’s first compositions to texts by Hildegard Jone, whose poetry provided him with the basis for all the vocal works that he subsequently completed.
",
+ "Webern presumably first met Jone and her husband, the sculptor Josef Humplik, in autumn 1926 at an exhibition of the Hagenbund in Vienna. This acquaintance led to plans for a collaboration between Webern and Jone by 1928 at the latest,113 and resulted in Jone writing “three opera texts”.114 A letter exists from Webern to Jone, written over a year later, in which he wrote that he wanted “to talk about your dramas”,115 though it remains unclear whether he is referring to the aforementioned three libretti or to other texts by Jone. However, it does seem that Jone still intended to “write [...] a ‘libretto’” for Webern.116 We know that Webern wrote to Jone in September 1930 to apologize
",
+
+ "that your dramas, which are so beautiful, had obviously not found me in the right state of mind for such work, despite the fact that I was very serious at the time about composing such things.117
",
+
+ "Instead, he goes on to ask her in this letter to write him a cantata text.118 Nevertheless, we do not know of any poems by Jone from this same time that might be connected to this request on the part of the composer (as is well known, Webern did indeed compose “cantatas” to texts by Jone, but only between 1935 and 1943; these were Das Augenlicht, Op. 26, the Cantata No. 1, Op. 29 and the Cantata No. 2, Op. 31). Quite apart from such concrete proposals for a possible collaboration, Jone repeatedly sent Webern manuscripts of her poems.119
",
+ "Given this background, it is worthy of note that Webern first set one of Jones’s poems without any prior consultation with the poet, having taken it instead from an already published collection: Viae inviae, which was published in the autumn of 1932 in the journal Der Brenner.120 This cycle of poems was dedicated posthumously to the philosopher Ferdinand Ebner, who had died in October 1931, and whose Fragment von 1916 (together with an “afterword” to it that he wrote shortly before his death) precedes Jone’s collection of poems in that issue of the journal.121 Shortly before Ebner died, Jone had arranged for Webern to meet him in person.122 And even before that, Jone had repeatedly confronted Webern with Ebner’s ideas, and she in fact later remained active as his editor. Webern’s explicit engagement with Ebner’s writings can only be traced sporadically, from 1934 onwards. Nevertheless, we can discern an implicit reception of Ebner’s work on Webern’s part through Jone’s texts.123 The poems of Viae inviae are divided into two sections, each marked with a Roman numeral: Section I begins with a prologue entitled Dem einsamen Wanderer (“To the Lonely Wayfarer”) and contains within it the cycle Heimgang des Lebens (“Life’s Homecoming”), which is subdivided into three further sections, each with an Arabic numeral.124 The texts that Webern set to music in his Op. 23 are the third section of Heimgang des Lebens, which itself is divided into eight groups of verses of varying lengths. Webern’s three songs comprise verse groups 1–4 (“Das dunkle Herz…”), 5–6 (“Es stürzt aus Höhen…”) and 7–8 (“Herr Jesus mein…”). He did not compose them in the same order in which they appear in the source, though when the songs were complete, he kept their original order.
",
+ "The initial sketches for Op. 23 in A (Sketchbook 3) are dated “1. II. 33” and are for “Herr Jesus mein” M 312 (M 312 Sk1, M 312 Sk1.1 and M 312 Sk2), i. e. the last two verse groups of the third section of Heimgang des Lebens. Webern sketched out a vocal line for the first words of the poem and then developed a twelve-note row from it. In the sketchbook in question, these and the subsequent sketches for Op. 23 constitute an interruption in his work on his Concerto for Flute, Oboe, Clarinet, Horn, Trumpet, Trombone, Violin, Viola and Piano, Op. 24, the first sketches of which already date from early 1931 but which had not progressed beyond 30 measures of the first movement by autumn 1932.125 In fact, since mid-1931, Webern’s health problems and a change of residence, compounded by his numerous conducting responsibilities in 1932, had barely left him either the time or the opportunity to compose. On 3 March 1933, he was able to report to Jone that he had made the first sketches for “Herr Jesus mein” M 312. He furthermore complained about his lack of time, also in connection with this new composition:
",
+
+ "I am in a considerable state of distress: it is depressing me more than ever that I don’t have the time to compose. I quite spontaneously began setting your beautiful, wonderful poem one day, but I soon had to interrupt my work on it again, and the fact that I allowed myself to sit now and then at our work back in January and February is taking its toll. Now I’m so behind with the other things, with preparing for my concerts, here and in London. How am I supposed to do it? It’s wonderful that your poem is called “Joy”.126
",
+
+ "Webern had clearly already told Jone about “our work” even before writing this letter, and the title “Die Freude” (“Joy”) that Webern mentions here refers to a subsequent communication from Jone that the verses set to music by Webern (in a manuscript version independent of their publication in Brenner) belonged to a poem of that title.127 However, Webern seems to have been consistent in using published versions of the poems as the basis for his compositions.128 It was not until two months later, when Webern was busy both with a concert in the Great Hall of the Konzerthaus in Vienna on 19 March129 and with his weekly lecture series “Paths to new music”,130 that he began work on the piano introduction (M 312 Sk3) and wrote the opening of his continuity draft up to measure 8 (M 312 Sk4). He then revisited the opening of this continuity draft from measure 4 onwards, dating this version “31. V. 33” (M 312 Sk4, mm. 4B–5C), which means that it was not begun until after his return from his concert tour in London (16–26 April) and a radio concert with Mahler’s Sixth Symphony that he conducted on 23 May.131 At the close of this continuity draft, Webern wrote: “Maria Enzersdorf | 14. VII. 33”.
",
+ "After a radio concert on 21 July,132 Webern began sketching another song, this time a setting of a text in Brenner that was printed on the same page, directly above the verses that he had already set (“Es stürzt aus Höhen” M 313). He wrote to Jone on 29 July that he had completed the song he had begun previously, and that he had begun work on a new one:
",
+
+ "I have already been working well. Your texts fulfil me more and more; one of them is already finished, from “Herz Jesus mein” to “Und, ewig Schlafende, auch euch erwartet Tag”. And now I am linking “Es stürzt aus Höhen Frische” – how wonderful is the substance of these words – to “überglüht noch lange Glut” to form a second song. But the order of the two songs will correspond to that of your poems.
",
+ "How deeply they touch me. And I am so glad that I am finally in this position (composing a work to your texts). I had desired this for a long time. After I had finished the first song, I had to interrupt my work for 8 days because I still had to conduct a concert on the radio. I wanted to turn it down. But ultimately – well, you know the reasons why.133
",
+
+ "Webern presumably interrupted his work on the continuity draft of this second song when he went on holiday “to an alpine pasture at an altitude of some 1600 m near Kitzbühel in the Tyrol”134 in early August. According to the date given in A, he completed it on “18. VIII. 33” (M 313 Sk4 m. 30C). In a letter to Jone of 3 September, he declared the two songs he had written up to now to be complete “for the moment”:
",
+
+ "For the moment, I have finished composing the texts from your “Viae inviae”. It has proceeded as I had planned: 1st song: “Es stürzt aus Höhen” up to “den Himmel u. die Seele überglüht noch lange Glut.” 2. “Herr Jesus mein” up to “auch euch erwartet Tag.” (i. e. the whole of page 65 from “Brenner”). I say “for the moment”, because I feel that I might soon have to come back to words of yours. But for the time being, at least, I believe that these 2 songs should remain on their own. They form a whole in musical terms, in the sense that they demonstrate a certain contrast. At the moment, I’m busy again with a purely instrumental piece that I began quite some while ago. How happy I was when I was working with your words!135
",
+
+ "Webern also resumed sketching the first movement of his Concerto, Op. 24 in early September, using the same sketchbook. However, he was able neither to finish it nor to work continually on it. At the end of that same month, he was planning to play Jone both of the songs from Op. 23 that he had completed up to now, during one of her stays in Vienna:
",
+
+ "You will soon be coming to Vienna, thank God. [...] I wonder what you’ll say to my songs that use your texts? How will it seem to you, when you hear your words as music? If only I could keep working. I hope to be able to start again in October.136
",
+
+ "It was only in early January 1934 that Webern returned to work on Op. 23, making his initial sketches in A for the song “Das dunkle Herz” M 314 (M 314 Sk1, M 314 Sk2 and M 314 Sk3; these are dated “3. I. 1934” and “5. I. 34”). Its text uses the opening verses that were numbered together as a unit in Brenner, and in this respect it serves as a completion of the two songs that Webern had already composed. In a letter to Jone, Webern emphasised that the order of the verses as printed in the source would continue to determine their order in his cycle, which had now grown to encompass three songs:
",
+
+ "I’m now finally back at work. It’s: “Das dunkle Herz, das in sich lauscht...”. It’s everything that’s on the page from then on, in other words up to where I was already: “Es stürzt aus Höhen Frische…”. Following the order that you determined, [this new song] shall precede this and the subsequent “Herr Jesus mein…”.
",
+ "It seems to me as if my current state of working is something I have never before experienced like this.
",
+ "I hope it can last!137
",
+
+ "Webern’s work on the continuity draft (M 314 Sk3), which he had begun on 5 January 1934, was then interrupted by his radio concert with Felix Mendelssohn Bartholdy’s Violin Concerto and Third Symphony on 28 January.138 Another interruption was occasioned by the street fighting that took place from 12 to 15 February in Vienna and other big cities in Austria between the Republikanischer Schutzbund (the paramilitary organization of the Social Democratic Party in Austria) on the one side, and the army and police under the control of Chancellor Engelbert Dollfuß’s regime on the other. These events had far-reaching consequences for Webern’s career as a conductor (see the details below on the Three Songs, Op. 25) and also had a short-term impact on his state of mind, making it difficult for him to continue work on the song he had begun, as he explained in a letter to Jone of 14 February:
",
+
+ "Dearest Mrs Jone,
",
+ "The commotion of the last few days has been monstrous and is becoming ever more so. It is barely possible to keep hold of a single thought [...].
",
+ "[...] And last week, I once again used every free moment to continue working on the poems [sic] “Das dunkle Herz”. I again had a little free time. [...]
",
+ "And now once again – Mrs Jone! [I hear] the thunder of big guns and the rattle of machine-guns. –139
",
+
+ "On 20 February, Webern wrote to Humplik, telling him that he had nevertheless reached the passage “an das Wartende im Dunkel” in his continuity draft, thus measure 15.140 By the beginning of March he had got as far as measure 24: “In my work, I have reached: ... ‘ein goldenes Flattern trägt’ and I’m going to continue tomorrow. I still have some free time ahead of me.”141 He reported completing the sketch for the vocal part on 11 March,142 and he dated the continuity draft “15. III. 34” upon finally completing it. In the letter that he then wrote to Jone, Webern gave a relatively detailed description of this new song, and went on to propose a title for the collection of songs he had now finished:
",
+
+ "Meanwhile, the third song is finished.
",
+ "Because it encompasses the text from “Das dunkle Herz…” to “…ich und du und alle”, it has become rather long and in its musical form it is really a kind of “aria”, comprising a slow section and then a quicker section from “ich bin nicht mein…”, though it nevertheless bears the tempo marking “Very calmly”.
",
+ "This 2nd section is kept in an almost whispering tone. Perhaps you can get a rough idea from this description how I have interpreted your words in the 2nd section in particular: after a great upsurge in the first [section] there is utterly abrupt, complete silence, calm, simplicity.
",
+ "I thought that the title could be this:
",
+ "Three Songs from Viae inviae.
",
+ "May I adopt this title from your poems?
",
+ "I shall send you the manuscript soon.143
",
+
+ "In a letter that Webern sent one week later to Alban Berg, he went into greater detail about the work’s formal organization, also regarding the other songs:
",
+
+ "I have just finished a third song (based on Jone texts). Actually, it’s an aria, comprising a slow section and a quicker section. It will be the first.
",
+ "And I’ve realized that the other two, which I composed earlier, are actually something other than songs (in their form): the one is a straightforward recitative with an arioso, the other (which is now the last of the sequence) is a rondo.
",
+ "Thus, without having actually wanted it, I’ve come to engage with larger vocal forms in this opus. I’ll end up writing an opera after all.144
",
+
+ "It is unclear whether Webern here means “finished” to refer retrospectively to the continuity draft whose completion predates this letter by a few days, or whether he is referring to some fair copy that he might already have made. (It is also possible that he had made fair copies of the other two songs shortly after having finished their respective continuity drafts). In any case, the autograph engraver’s copy of all three songs, C, was received by Universal Edition before July, and was accepted for publication on 11 July.145 However, the actual publishing process was delayed considerably. Webern had initially assumed that “U. E. [...] will [print] my last work by the autumn”,146 but by the end of August he learned that his publisher had “regrettably not yet begun” with engraving his songs “due to other, time-critical work”.147 It was not until February 1935 that Webern’s manuscript was finally sent to the engraver – though this order to the engraver was immediately rescinded. The engraver in fact only began work in early January 1936. Webern received the first proofs at the end of that same month, with two further sets of proofs received on 10 and 27 March respectively. The Three Songs, Op. 23 were published on 4 May 1936 in an edition of 302 copies.148
",
+ "Already in 1935, Webern had hoped that Julia Nessy might sing his Three Songs, Op. 23, but this was not to be.149 The world premiere did not take place until 5 December 1943 at the Basel Conservatory, without the composer being present. This was a concert of the local section of the ISCM, largely organized by Willi Reich, in celebration of Webern’s 60th birthday.150 The pianist Paul Baumgartner accompanied Marguerite Gradmann-Lüscher, who had already given a performance of Webern’s Five Songs on Poems of Stefan George, Op. 4, and a selection from the Four Songs, Op. 12, during Webern’s visit to Switzerland in 1940.151
",
+ "The reviews of this concert in the Basel newspapers were clearly influenced by the introductory talk given by Reich and focused on offering an overall view of this supposedly “other-worldly” composer, who was thus already being seen as a kind of historical figure:
",
+
+ "To be sure, the works that were performed (some of which were world premieres) conveyed the impression of being something thoroughly unique, unusual and unworldly. This is a music of the highest spiritual potency, embodying law and power at the same time. One might almost say it is too true to be beautiful, meaning that this music serves only the imperatives of honesty and sincerity, far beyond all notions of aural beauty or discord, and thereby compels its notes unconditionally to submit to the law of the spirit and its power of cognition. [...] But the general development of music cannot reach this point, and nor should it, because only someone who has set himself apart from the world and does not care about its judgements will be able to see these things and to reproduce them in sound: namely Anton Webern.152
",
+
+ "Another review wrote only as follows about the Three Songs:
",
+
+ "Three songs Op. 23 from Hildegard Jone’s Viae inviae were given their first performance. Here, the calm, tender vocal line, which is only occasionally fractured by large leaps, is disturbed by fierce, hard interjections from the accompaniment.153
",
+
+ "For an “evening of contemporary poetry” featuring Jone’s poems, planned for the Archbishop’s palace in Vienna on 29 November 1944, Jone and Webern for a while wanted to arrange a performance of both the Three Songs, Op. 23, and the Three Songs, Op. 25,154 which were rehearsed by an unnamed “Swedish [woman] singer” and Webern’s student Fré Focke.155 Ultimately, however, this performance did not take place, and no further plans for performances during Webern’s lifetime are known to us.
"
+ ],
+ "blockNotes": [
+ "113 | See Webern to Jone, 6 August 1928 (A-Wn, HS 431/1–11): “Now let’s hope that something will come of our joint work. The fact that the suggestion came from me might let you realize just how dear to me is your way of thinking, indeed how congenial it is. –”
",
+ "114 | See Jone to Ludwig von Ficker, 28 November 1928 (Brenner Archive, Innsbruck [cited as in Thomas Reinecke, Hildegard Jone (1891–1963). Untersuchungen zu Leben, Werk und Veröffentlichungskontexten. Zugleich eine Studie zu einigen Figuren im Denken Anton Weberns und den von ihm vertonten Texten, Frankfurt am Main: Peter Lang, 1999, p. 51]): “In the autumn, I wrote three opera texts for Anton Webern, who urgently wrote to me last spring, asking me for something: The Transformation of Love, The Last Encounter, The Spaces of the Interior and its Guests.” A manuscript by Jone entitled Die letzte Begegnung (“The Last Encounter”, with a dedication to Ferdinand Ebner) is held in CH-Bps, Hildegard Jone Collection (TM 26). See also Barbara Schingnitz, [“Einleitung”], in: Briefwechsel Webern und Webern – Jone und Humplik (note 110), pp. LXVII ff.
",
+ "115 | Webern to Jone, 17 January 1930 (A-Wn, HS 431/1–35).
",
+ "116 | Ibid.: “The fact that you’re repeatedly thinking about writing me a ‘libretto’ makes me very happy.”
",
+ "117 | Webern to Jone, 8 September 1930 (A-Wn, HS 431/1–48).
",
+ "118 | Ibid.: “Now I am very occupied with the idea of writing a cantata. My request is this: might you want to write such a text for me? Who else could it be, but you, dear Mrs Jone! This idea won’t let go of me, and so I had to say it.” The “idea of writing a cantata” was perhaps also motivated by the fact that Webern was at this time rehearsing Johann Sebastian Bach’s Actus tragicus. See Regina Busch, “Webern, Bach und Kantaten”, in: webern_21, ed. Dominik Schweiger and Nikolaus Urbanek, Vienna: Böhlau, 2009 (Wiener Veröffentlichungen zur Musikgeschichte 8), pp. 221–244.
",
+ "119 | See the editor’s occasional references in her commentary to Briefwechsel Webern und Webern – Jone und Humplik (note 110). Regarding the difficulties in identifying individual poems and their different versions (as well as the resulting inaccuracies in much of the relevant research literature), see ibid. (“Exkurs: Problematik der Quellenlage in Jones Nachlass”), p. XXI: “[I]n most cases, the copies of poems and poem collections that were sent to Webern cannot be identified unambiguously, inasmuch as their existence may be deduced from their correspondence. This is because, with a few exceptions, [...] Webern’s archives no longer hold any autograph poems by Jone that are not connected to the context of their composition. Their correspondence also makes it clear that Webern regularly received copies of texts by Jone, and that he returned them after some time (often copying out passages from them for himself); nor can these copies be found, neither in Webern’s archives nor in Jone’s archives.” Webern himself subsequently made a manuscript copy of all the poems by Jone that he had set to music (US-Wc, Moldenhauer Archives 59/2) in preparation for an “Evening of Contemporary Poetry” that he began planning in the early summer of 1944, to be held on 29 November of that year. See Webern to Jone, 30 April 1944 (A-Wn, HS 431/1–285): “I have already copied the poems I have composed, as you wished [...] and I shall bring the booklet with me […].”
",
+ "120 | Hildegard Jone, Viae inviae, in: Der Brenner 13 (1932), pp. 60–74, here pp. 64 (“Das dunkle Herz”) and 65 (“Du stürzt aus Höhen” and “Herr Jesus mein”): Jone_Vi. See Webern to Jone, 3 November 1932 (A-Wn, HS 431/1–85): “I am very much looking forward to your poems in ‘Brenner’.”
",
+ "121 | For information both on the organization of this Brenner edition as a memorial volume for Ferdinand Ebner, who had often written for the journal, and on the connection between Jone’s poetry and Ebner’s philosophy, see Reinecke, Hildegard Jone (note 114), pp. 175–187.
",
+ "122 | See Ferdinand Ebner, Notizen Tagebücher Lebenserinnerungen, ed. Franz Seyr, Munich: Kösel, 1963 (Ferdinand Ebner Schriften 2), p. 1033: “Dr Webern in the studio [i. e. in the studio of Humplik and Jone] – at the request of Mrs Jone.”
",
+ "123 | See Schingnitz, [“Einleitung”] (note 110), pp. LI f.
",
+ "124 | After an untitled, introductory poem, Section II comprises contains four sections, each numbered with an Arabic numeral, all of which present self-contained, individual poems: 1. “Das Augenlicht” (later the text for Webern’s Op. 26), 2. “Christophorus”, 3. “Der Berg” and 4. “Zwischen Tag und Nacht”. The 3rd and 4th sections are each followed by groups of verses separated by asterisks. It is not clear whether these verse groups comprise a continuation in each case of the texts given under the aforementioned two titles, or whether they constitute independent poems.
",
+ "125 | Regarding his protracted work on the first movement of Op. 24, see Kathryn Bailey, “Symmetry as Nemesis: Webern and the First Movement of the Concerto, Opus 24”, in: Journal of Music Theory 40/2 (Autumn 1996), pp. 245–310.
",
+ "126 | Webern to Jone, 3 March 1933 (A-Wn, HS 431/1–89).
",
+ "127 | See Lauriejean Reinhardt, “Webern’s Literary Encounter with Hildegard Jone”, in: Mitteilungen der Paul Sacher Stiftung 5 (January 1992), pp. 36–40. Ibid., p. 37 contains a facsimile of a Jone manuscript entitled Die Freude, which contains most of the lines that Webern set to music in his Op. 23. However, it is unlikely that this manuscript dates from before 1933, or that Webern had it in front of him.
",
+ "128 | See Reinecke, Hildegard Jone (note 114), pp. 297 f.
",
+ "129 | Arbeiter-Symphonie-Konzert: Ernst Krenek, Kleine Blasmusik, Op. 70A; Paul A. Pisk, Kantate Campanella, Op. 28; Hanns Eisler, Das Lied vom Kampf.
",
+ "130 | See Webern, Wege zur neuen Musik (note 89), pp. 9–44. His lecture series began on 20 February and ended on 10 April. He gave a total of eight lectures, which as a rule took place on Monday evenings, though on two occasions he gave them on a Tuesday (on 7 and 14 March).
",
+ "131 | See Moldenhauer, Anton von Webern (note 18), p. 397, and Radio Wien, 19 May 1933, p. 42.
",
+ "132 | See Moldenhauer, Anton von Webern (note 18), p. 398, and Radio Wien, 14 July 1933, p. 52.
",
+ "133 | Webern to Jone, 29 July 1933 (A-Wn, HS 431/1–99). The beginning of the first sketch for “Es stürzt aus Höhen” M 313 is indeed dated “26. VII. 33”, thus 12 days after the final date on the continuity draft of “Herr Jesu mein” M 312, not eight days as Webern claims.
",
+ "134 | Ibid.: “So from 4 (roughly) to 10 [August] we’re not here.” See also Moldenhauer, Anton von Webern (note 18), pp. 398 f., where the dates of Webern’s stay in the Tyrol are given as “6–12 August”.
",
+ "135 | Webern to Jone, 3 September 1933 (A-Wn, HS 431/1–101).
",
+ "136 | Webern to Jone, 24 September 1933 (A-Wn, HS 431/1–104). We do not know of any reaction on Jone’s part to these two songs.
",
+ "137 | Webern to Jone, 6 January 1934 (A-Wn, HS 431/1–116).
",
+ "138 | See Moldenhauer, Anton von Webern (note 18), p. 407, and Radio Wien, 26 January 1934, p. 16.
",
+ "139 | Webern to Jone, 14 February 1934 (A-Wn, HS 431/1–119).
",
+ "140 | Webern to Humplik, 20 February 1934 (A-Wn, HS 431/1–120): “I’m working again: ‘was wird legt sich mit zarten Wurzeln an das Wartende im Dunkel…’ [‘what is becoming lies with its tender roots against what waits in the darkness’] The more terrible it becomes, the greater the responsibility that our tasks assume.” The continuity draft M 314 Sk3 articulates these thoughts in several variants: mm. {12A, 12B, 13A–15A, 12C}, mm. {12D, 13B–15B, 16A–17A}, mm. {23A–24A}, {13C–15C} and mm. {13D–15D}. See also M 314 Sk3.2.
",
+ "141 | Webern to Jone, 4/5 March 1934 (A-Wn, HS 431/1–121). See M 314 Sk3 mm. 22B–24B, {25B–27B}.
",
+ "142 | Webern to Jone, 11 March 1934 (A-Wn, HS 431/1–122): “‘Wir sind nicht unser, ich und du u. Alle’. I have just finished sketching the melody. So you see, soon the song will have been composed to the end.” Webern presumably refers here to M 314 Sk3.4.
",
+ "143 | Webern to Jone, 20 March 1934 (A-Wn, HS 431/1–123). See also the commentary of the editor in Briefwechsel Webern und Webern – Jone und Humplik (note 110): “It cannot be determined whether or not Webern ultimately [...] sent a fair copy of the Three Songs, Op. 23, to Jone at all, or perhaps handed such a copy over in person; their correspondence offers no hint of this. Jone and Humplik received a copy of the printed work after its publication by Universal Edition […].”
",
+ "144 | Webern to Berg, 27 March 1934 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]).
",
+ "145 | See Universal Edition (Hugo Winter) to Webern, 11 July 1934 (Webern, Briefwechsel mit der Universal-Edition [note 22], p. 188). The publishing contract is dated 12 July (see the commentary of the editor, ibid., plus Appendix, pp. 344 f.).
",
+ "146 | Webern to Universal Edition (Yella Hertzka), 12 July 1934 (Webern, Briefwechsel mit der Universal-Edition [note 22], p. 189).
",
+ "147 | Universal Edition (Erwin Stein) to Webern, 29 August 1934 (Webern, Briefwechsel mit der Universal-Edition [note 22], p. 196).
",
+ "148 | See Webern, Briefwechsel mit der Universal-Edition (note 22), Appendix, pp. 344 f.
",
+ "149 | See Webern to Josef Humplik, 8 May 1935 (note 109).
",
+ "150 | Reich to Webern, 30 August 1943 (CH-END [carbon copy]): “Your ‘sixtieth’, to which you so discreetly refer, was something of which I was naturally already aware, and I have already made all kinds of plans to celebrate the day. [...] A performance of chamber music in Basel (the entire concert exclusively featuring works by Webern) has already been secured for December, within the framework of the ISCM.”
",
+ "151 | Regarding this concert and its complete programme, which included the Five Songs, Op. 3, also with the performers mentioned here, see Moldenhauer, Anton von Webern (note 18), pp. 553 f.
",
+ "152 | Bg., in: National-Zeitung, 7 December 1943 (morning edition), p. 4. See also the commentary of the editor in Briefwechsel Webern und Webern – Jone und Humplik (note 110) on Webern’s letter to Jone of 4 December 1943.
",
+ "153 | ay, “Anton Webern in der I. G. N. M.”, in: Basler Nachrichten, 7 December 1943 (2nd supplement). See also the commentary of the editor in Briefwechsel Webern und Webern – Jone und Humplik (note 110) regarding Webern’s letter to Jone of 4 December 1943.
",
+ "154 | See e. g. Webern to Jone, 22 April 1944 (A-Wn, HS 431/1–284): “It would of course be best to find a singer who might be able to sing some of the six songs with piano accompaniment to your texts.”
",
+ "155 | Webern to Jone, 10 August 1944 (A-Wn, HS 431/1–292): “I have been notified that the Swedish singer I mentioned previously has agreed and already studied [the songs].”
"
+ ]
+ },
+ {
+ "blockId": "op25",
+ "blockHeader": "Three Songs on Poems of Hildegard Jone, Op. 25",
+ "blockContent": [
+ "The Three Songs after Poems of Hildegard Jone, Op. 25, which Webern composed in the course of 1934, mark a continuation of his compositional interest in her poetry that had begun the year before with his Three Songs from Viae inviae, Op. 23. However, Webern’s professional situation changed drastically on account of the political consequences of the battles that took place from 12 to 15 February 1934 in Vienna and other big Austrian cities between the paramilitary Republikanischer Schutzbund of the Social Democratic Party and the army and police authorities of the Dollfuß regime. The latter now banned the Social Democratic Party, which meant that Webern lost his job as conductor with the Vienna Workers’ Symphony Concerts and as the artistic director of the Social Democratic Choral Society (the “Singverein der Sozialdemokratischen Kunststelle”). This in turn meant that the number of his radio engagements dwindled. In a letter to Arnold Schoenberg, who had emigrated to the United States in 1933, Webern described his situation in comparatively drastic terms:
",
+
+ "It’s becoming increasingly difficult for me here. I am very aware of what’s been taken from me by the events in question, and which will hardly be able to be restored. – And apart from material things, it’s as if their cannon had shot to pieces – no, their cannon really have shot to pieces – what I had built up so painstakingly over 10 years.156
",
+
+ "All the same, his increasing isolation did have one specific consequence: “I’ve at least now got some time for my work […]”157
",
+ "After completing his Three Songs, Op. 23 in March 1934, Webern continued working on his Concerto for Flute, Oboe, Clarinet, Horn, Trumpet, Trombone, Violin, Viola and Piano, Op. 24, and in parallel with this he also began composing a song to a text from Jone’s collection entitled Die Freude (“Joy”), which comprises 29 (unnumbered) poems in total, in July of the same year. Jone had published her cycle in the autumn of 1933 in the Catholic bimonthly magazine Die Schildgenossen. It is subdivided into the following:
",
+
+ "– 5 “Spring” (“Frühling”) poems (from which Webern set “Wie bin ich froh!” M 317 [Op. 25/1]),
",
+ "– 8 “Star” (“Stern”) poems (from which Webern set “Sterne, ihr silbernen Biene” M 321 [Op. 25/3]) and
",
+ "– 16 “Death” (“Tod”) poems (from which Webern set “Des Herzens Purpurvogel” M 322 [Op. 25/2]).158
",
+
+ "It is impossible to determine whether Webern might have received a manuscript from Jone of the three poems he chose to set, either before or after she published them. In any case, we do know that the relevant issue of Die Schildgenossen was still unknown to Webern at the close of November 1933.159
",
+ "In early January 1934, when Webern had only just begun his continuity draft of M 314 (Op. 23/1), he announced that his next project might involve setting “several ‘Star’ poems”, i. e. poems from the eight “Star” poems in the collection Die Freude.160 In fact, after having completed the continuity draft for M 314 (on 15 March 1934) and the first movement of his Concerto, Op. 24 (on 25 June 1934), Webern did not set any of the “Star” poems, but instead chose the first of the “Spring” group, which is also the very first poem in the whole collection: “Wie bin ich froh!” M 317. (Webern’s sketches for the first movement of his Concerto, Op. 24 reveal that he had also considered interrupting his work to set the poem “Wie kann der Tod so nah der Liebe wohnen?” [M 315] for chorus [on 11 May 1934], though he rejected this idea). According to the dates in his sketches, Webern began composing “Wie bin ich froh!” on 4 July 1934. A few days later, he wrote to Jone and Josef Humplik to tell them about it:
",
+
+ "Did I tell you already that my first movement [i. e. of Op. 24] is finished? Right now, for reasons that I’ll tell you later, I have interrupted it to write something else: a setting of a brief poem by you, dearest friend [“Freundin”, i. e. Jone]:
",
+ "“Wie bin ich froh! Noch einmal
",
+ "wird mir Alles grün….” [“How happy I am! Once again, everything is turning green for me…”]161
",
+
+ "Webern’s “reasons” for writing a song, instead of continuing with the next movements of his Concerto, Op. 24, were probably linked to his wanting to complete a work in time for David Josef Bach’s 60th birthday on 13 August of that year. Bach was a childhood friend of Schoenberg’s who had initiated the Workers’ Symphony Concerts in Vienna in the 1910s. He had also been the director of the Social Democratic Party’s arts office since 1919, and from 1922 onwards had engaged Webern repeatedly to conduct its concerts. Most importantly, he had appointed Webern as the chief conductor of the Singverein in late 1923 and had thereby made a significant contribution to establishing his reputation as a conductor. When the Social Democratic Party was banned after the events of February 1934, this put Bach himself in a precarious situation – a fact to which Webern drew attention in his letters to Schoenberg and others. He also mentioned Bach’s upcoming birthday and the song that he intended to dedicate to him:
",
+
+ "For Dr Bach’s 60th birthday – on 13 August of this year – the following is being prepared: an address with signatures and a collection of money. His financial situation is still highly onerous […].
",
+ "I’m going to dedicate a song to him […].162
",
+
+ "Webern had finished his continuity draft of 15 measures, M 317 Sk4, in A (Sketchbook 3) a few days before, on 16 July, and thereupon wrote to Jone: “The new song is ready. –”163 There was for the moment no mention of his including it in any collection of songs he might be planning.164 After this continuity draft, the same sketchbook contains sketches for the second movement (M 319) of his Concerto, Op. 24, dated “21 VII[.]” Webern wrote the fair copy of his new song in E either just before making these sketches, or in parallel with them, though its initial layer presumably did not correspond to the later version that lasts 12 measures. Webern made a presentation copy of version 1 of this song (B) as his birthday gift for Bach. This was probably copied just before Webern left for a mountain hike in the Ötztal Alps on 11 August. Bach was spending the summer in Henndorf just outside Salzburg, and Webern stopped off there on his journey to the mountains in order to deliver his gift in person.165 Webern initially revised the autograph of M 317 contained in E (as Op. 25/1) to bring it in line with version 1 as found in B, though he later changed it again – presumably only when he made the fair copies of M 321 (Op. 25/3) and M 322 (Op. 25/2) – which resulted in version 2 of the song that he incorporated into Op. 25 that ultimately comprised three songs.
",
+ "A few days after having completed the continuity draft for the third movement (M 320) of his Concerto, Op. 24 on 4 September, Webern reported to Humplik and Jone about his plan for a “song opus” that would also contain “Wie bin ich froh!”, M 317: “I have just finished my instrumental opus and I now want to continue with the song opus that I have already begun – [for which] ‘Wie bin ich froh’ has long been finished.”166 An initial sketch for “Sterne, ihr silbernen Bienen” M 321 in D (Sketchbook 4) can be found among the sketches for the third movement of his Concerto, Op. 24, and was probably already made in late August 1934 (M 321 Sk1). According to the dates in Webern’s own hand, he began making further sketches on 19 September (M 321 Sk2). In early October, he was able to report to Jone on his progress, though the precise number of songs for his “new song book” remained open. He even hinted at the possible inclusion of new songs that were not in her poetry collection Die Freude:
",
+
+ "Dear, dear friend,
",
+ "Many heartfelt thanks for the beautiful songs!
",
+ "“How happy I am” to have them [i. e. an allusion to the title of M 317, “Wie bin ich froh”]. I am sure that one or the other of them will be included in the new songbook. Now I am working on “Sterne, Ihr silbernen Bienen...” and have already made much progress.167
",
+
+ "Webern completed his continuity draft on 8 October and dated it thus (M 321 Sk3 mm. 21B–26B). He wrote to Jone on 17 October to report on its completion, and also on his having begun work on “Des Herzens Purpurvogel” M 322.168 He dated the beginning of an initial continuity draft “24. X[.] 34”, though he later broke off work on it (M 322 Sk3 mm. {1A}, {1B}, {1C-2A}, 1D–2B). He had presumably begun the preceding sketches (M 322 Sk1 and M 322 Sk2) before writing to Jone on 17 October; he might also have begun M 322 Sk3 measures {1A}, {1B}, {1C–2A} before that date. Webern seems to have been working on the final continuity draft in early November,169 which was completed on 15 November according to the date in the sketchbook (M 322 Sk4 m. 21C).
",
+ "We have no documentary proof of when Webern made the fair copies of his two new songs, nor when he decided to reverse the order of the second and third songs when concluding this new opus (which was contrary both to their order in Die Freude and to the order in which he had composed them). Webern no longer mentions this project in his letters from December 1934 onwards. Instead, he seems to have been especially preoccupied with his arrangement of the Fuga (Ricercata) a 6 voci from Bach’s Musical Offering (M 323). He probably completed his fair copy of the complete collection of songs that he now numbered Op. 25 (E) by the end of 1934 at the latest.
",
+ "In mid-October 1938, Webern wrote to Erwin Stein, a former student of Schoenberg’s who had worked for Universal Edition, had recently emigrated to London, and had now taken up a job as an editor for Boosey & Hawkes. He mentioned his “Three Songs with Piano, Op. 25, on poems of H. Jone” as being “a book of songs not yet printed nor yet accepted by any publisher”.170 We do not know if Webern had already offered them to Universal Edition. It was not until Webern’s 60th birthday in 1943 – presumably in connection with a possible performance (see below) – that Universal held out to Webern the prospect of publishing these songs, though nothing came of it during Webern’s lifetime.171 This opus was only published by Universal Edition in 1956, long after Webern’s death.
",
+ "The world premiere of these Three Songs, Op. 25, together with that of the Three Songs, Op. 23, was planned for a concert of the Basel section of the ISCM, held on 5 December 1943, with Marguerite Gradmann-Lüscher accompanied by Paul Baumgartner. In order to facilitate this performance, Universal Edition apparently made two photographic copies of Webern’s autograph (since lost) and presumably sent them to Erich Schmid.172 But the Three Songs, Op. 25 were not performed on that occasion. When readings of Jone’s poetry were being organized at an “Evening of contemporary poetry” to be held at the Archbishop’s Palace in Vienna on 29 November 1944, Jone and Webern for some time harboured the plan of including a performance of both the Three Songs, Op. 23 and the Three Songs, Op. 25.173 They were to have been performed by an unnamed “Swedish singer” accompanied by Webern’s student Fré Focke, who also began rehearsing the works together.174 Ultimately, however, this performance never took place. The world premiere was only given posthumously, on 16 March 1952 in New York, with Bethany Beardslee accompanied by Jacques Monod at the piano.175
"
+ ],
+ "blockNotes": [
+ "156 | Webern to Schoenberg, 21 March 1934 (US-Wc [cited as in the digitized copy in A-Was: ID 18155]).
",
+ "",
+ "158 | Hildegard Jone, Die Freude, in: Die Schildgenossen 13/1 (September/October 1933), pp. 16–26, here pp. 16 (“Wie bin ich froh!”), 18 (“Sterne, Ihr silbernen Bienen der Nacht”) and 24 (“Des Herzens Purpurvogel”): Jone_DF. We must not confuse this cycle Die Freude with Jone’s individual poem with the same title, which she had included (without explicitly providing a title) in her cycle Viae inviae, which she had published back in 1932, and which had provided the text for Webern’s Three Songs, Op. 23.
",
+ "159 | See Webern to Jone, 21 November 1933 (A-Wn, HS 431/1–112): “And how I’m looking forward to your poems in the ‘Schildgenossen[’]!”
",
+ "160 | See Webern to Jone, 6 January 1934 (A-Wn, HS 431/1–116): “I would only like to give you the song manuscript [of Op. 23] once it is complete (with the 3rd song). Several ‘Stern’ poems are probably going to be next!”, i. e. poems from the eight “Star” poems in the collection Die Freude.
",
+ "161 | Webern to Humplik and Jone, 9 July 1934 (A-Wn, HS 431/1–131).
",
+ "162 | Webern to Schoenberg, 18 July 1934 (US-Wc [cited as in the digitized copy in A-Was: ID 22352]).
",
+ "163 | Webern to Jone, 18 July 1934 (A-Wn, HS 431/1–132). In this same letter, which also mentions Bach’s forthcoming birthday, Webern makes a remark that indicates he had meanwhile told Jone the “reasons” for composing this song. (“You know what I owe to him”).
",
+ "164 | This song is also mentioned on its own on a postcard of 8 August (A-Wn, HS 431/1–134): “I hope to be able to show you and Pepo [i. e. Humplik] everything soon after my return! and I am already looking forward to it a lot. The song ‘Wie bin ich froh’[.]”
",
+ "165 | See Moldenhauer, Anton von Webern (note 18), p. 418, though he erroneously writes that Webern had dedicated a fair copy of the Two Songs, Op. 19, to Bach and had given it to him on this occasion (Moldenhauer presumably did not have B available for consultation). Webern had already dedicated the Two Songs, Op. 19, to Bach in 1928 when the work was published.
",
+ "166 | Webern to Humplik and Jone, 12 September 1934 (A-Wn, HS 431/1–137).
",
+ "167 | Webern to Jone, 1 October 1934 (A-Wn, HS 431/1–138). We do not know to which “songs” by Jone Webern is here referring.
",
+ "168 | Webern to Jone, 17 October 1934 (A-Wn, HS 431/1–139): “‘Sterne, Ihr silbernen Bienen’ is finished. Now I am busy with [‘]Des Herzens Purpurvogel fliegt durch Nacht’[.]”
",
+ "169 | Webern to Jone, 9 November 1934 (A-Wn HS 431/1–140): “‘Des Herzens Purpurvogel’ will soon be finished. I was just held up a little recently.”
",
+ "170 | Webern to Boosey & Hawkes (Erwin Stein), 17 October 1938 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 223 f.). This contact with Boosey & Hawkes resulted in the publication of Webern’s String Quartet, Op. 28. See also in this regard Regina Busch, “Weberns Streichquartett Op. 28 und das Schriftbild seiner Partituren”, in: Webern-Philologien, ed. Thomas Ahrend and Matthias Schmidt, Vienna: Lafite, 2016 (Webern-Studien 3), pp. 41–76.
",
+ "171 | See Universal Edition (Alfred Schlee) to Webern, 1 December 1943 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], p. 284): “It’s also not correct if I inform you that the songs are now going to the engraver’s as a kind of birthday present, because it would naturally have been the proper thing to publish them even regardless of your 60th birthday.” See the editor’s commentary in ibid.: “There is no documentary evidence that the Three Songs, Op. 25 were indeed sent ‘to the engraver’s’ after this letter, nor that any contract was concluded.”
",
+ "172 | See Webern to Erich Schmid, 9 November 1943 (cited as in Erich Schmid, Lebenserinnerungen, vol. 2: Letters, ed. Lukas Näf, Bern: Peter Lang, 2014, p. 812): “With regard to the photocopy of my songs Op. 25 [...] I hope that 2 copies of them are now finally in your hands. Despite my having repeatedly pursued the matter, their publication has been very much delayed (due to current circumstances).” Schmid had accompanied Gradmann-Lüscher in a performance of Webern’s Five Songs on Poems of Stefan George, Op. 4, and of his Four Songs, Op. 12, when Webern had visited Basel in 1940. However, Schmid’s military service prevented him from participating in the concert planned for December 1943. These two copies of the songs ([EF1–F2]), today no longer extant, were presumably sent to Gradmann-Lüscher and Paul Baumgartner before their planned performance, though it seems that they had insufficient time to rehearse them adequately.
",
+ "173 | See, e. g., Webern to Jone, 22 April 1944 (A-Wn, HS 431/1–284): “The best solution would be to find a woman singer [“Sängerin”] who could sing some of the six songs with piano accompaniment that are settings of your texts.”
",
+ "174 | Webern to Jone, 10 August 1944 (A-Wn, HS 431/1–292): “I have been notified that the Swedish singer I mentioned previously has agreed and already studied [the songs].”
",
+ "175 | Moldenhauer, Anton von Webern (note 18), pp. 716 f.
"
+ ]
+ },
+ {
+ "blockId": "about",
+ "blockHeader": "About this edition",
+ "blockContent": [
+ "The songs with piano accompaniment that are collected in this volume are published in different formats depending on the situation in which their respective texts have been transmitted to us. The published song collections are here presented as “work editions” (Werkeditionen). The versions that are extant solely as fair copies in ink, or which – as in the case of the songs to texts by Stefan George – are grouped together in clusters in this edition because the common circumstances of their composition imply that they belong together, are presented here as “text editions” (Texteditionen). The Three Songs, Op. 25 constitute an exception to this rule, for they were not published during Webern’s lifetime. The autograph fair copy of the complete Op. 25 nevertheless offers all the characteristics of an engraver’s copy of a work intended for publication. For this reason, presenting this opus as a work edition here is both the obvious choice and unproblematic from the view of producing a critical edition of the musical text. Extant pencil sketches will be presented as “sketch editions” (Skizzeneditionen) in the online edition of the AWG.
",
+ "Webern’s songs to texts by Stefan George are edited here as a coherent cluster. The final form in which Webern left them to us – the two collections published as his Opp. 3 and 4 – was preceded by a common compositional history that featured several individually distinguishable versions of their musical text, plus four songs that were not included in the final publications. The different versions of the musical text that can be identified in the correction layers of the surviving ink manuscripts and that predate the final publications (which are here given as work editions) are presented here as text editions in view of the material used to notate them. These include some of the earliest versions of the musical texts, which at times come across as sketch-like. (In these cases, a sketch edition would provide less information on the writing process than is usually the case with Webern’s pencil sketches, because those layers that predate the correction process have often been subjected to erasure and can rarely be deciphered with any certainty; they are generally impossible to decipher at all).
",
+ "In the case of the various collections of George songs in particular that Webern conceived between 1909 and 1919, it is not always possible to reconstruct unambiguously which versions of which songs were intended in what order, so the different versions that are nevertheless decipherable in the sources are presented in chronological order in the printed edition here, while the songs themselves are presented in alphabetical order according to their respective title.
",
+ "As a rule, Webern’s numerous versions of his George songs adopted the poet’s spellings (especially his frequent lack of capitalization for nouns) and the occasionally sparse punctuation of his original poems. These idiosyncrasies have been retained in our text editions here. Any additions or corrections made here to the song texts are similarly oriented on George’s original poems, and are listed in the Critical Notes (Textkritische Anmerkungen). Any cases of divergence from the original poem are denoted by “sic” in the Critical Notes.
",
+ "In comparison to the George songs, there are comparatively few early versions of the individual songs that make up the Four Songs, Op. 12, and the Three Songs, Op. 25, but they have been dealt with in similar fashion here with regard to the order of their respective text editions. Even though the idiosyncrasies of the respective source texts for these editions are not as characteristic as in the case of George’s poems, we have applied the same principles to our editorial treatment of the vocal text.
"
+ ],
+ "blockNotes": []
+ },
+ {
+ "blockId": "acknowledgements",
+ "blockHeader": "Acknowledgements",
+ "blockContent": [
+ "As editor, I should like to thank the numerous people and institutions who have supported me in many ways during my work. My thanks above all go to the staff of the archives and libraries who have made digital reproductions of their sources available to us, or granted us access to the originals: The Arnold Schönberg Center in Vienna, the Music Division of the Library of Congress in Washington D.C., the Morgan Library & Museum in New York City, the Music Collection of the Austrian National Library in Vienna, the Music Collection of the Wienbibliothek im Rathaus in Vienna, and the Historical Archive of Universal Edition, also in Vienna. Special thanks go to the Paul Sacher Foundation in Basel, which holds most of the extant Webern sources, in particular to Sabine Hänggi-Stampfli, Felix Meyer, Simon Obert and Andrietta Wahl for always being ready to help and for providing expert advice.
",
+ "I should also like to thank all the current members of the AWG project team for their collegiality and for their fruitful spirit of collaboration, namely Michael Matter, Stefan Münnich, Simon Obert, Barbara Schingnitz and Matthias Schmidt, plus our former colleagues Julia Bungardt, Monika Kröpfl, Nikolaus Urbanek and Manuel Strauß, and our interns Tamara Ackermann, Yuta Asai, Daia Aschwanden, Madita Knöpfle and Youchen Yu.
",
+ "Rita Gautschy (Swiss National Data and Service Center for the Humanities), Lukas Rosenthaler and Tobias Schweizer (Digital Humanities Lab of the University of Basel) offered advice and assistance in designing and setting up the online edition, as did numerous colleagues from the abovementioned institutions.
",
+ "Heinz Stolba of Universal Edition in Vienna deserves my thanks for his commitment and cooperation.
",
+ "Finally, I should like to express my sincere gratitude to Simone Hohmaier (Staatliches Institut für Musikforschung, Berlin), Juliane Brand (Karl Weigl Foundation, San Rafael CA), Regina Busch (Vienna), Felix Wörner (Basel) and Michelle Ziegler (Basel) for suggestions, feedback and advice of all kinds.
",
+
+ "Basel, 14 May 2024 Thomas Ahrend
",
+ "Translation: Chris Walton
"
+ ],
+ "blockNotes": []
+ }
+ ]
+ }
+ ]
+}
diff --git a/src/assets/data/edition/series/1/section/5/m143/intro.json b/src/assets/data/edition/series/1/section/5/m143/intro.json
index ce6b8726a3..1d26375a80 100644
--- a/src/assets/data/edition/series/1/section/5/m143/intro.json
+++ b/src/assets/data/edition/series/1/section/5/m143/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "m143",
- "content": []
+ "id": "op3+4"
}
]
-}
\ No newline at end of file
+}
diff --git a/src/assets/data/edition/series/1/section/5/m144/intro.json b/src/assets/data/edition/series/1/section/5/m144/intro.json
index c881edfb6e..1d26375a80 100644
--- a/src/assets/data/edition/series/1/section/5/m144/intro.json
+++ b/src/assets/data/edition/series/1/section/5/m144/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "m144",
- "content": []
+ "id": "op3+4"
}
]
-}
\ No newline at end of file
+}
diff --git a/src/assets/data/edition/series/1/section/5/m145/intro.json b/src/assets/data/edition/series/1/section/5/m145/intro.json
index 3a3631cad4..1d26375a80 100644
--- a/src/assets/data/edition/series/1/section/5/m145/intro.json
+++ b/src/assets/data/edition/series/1/section/5/m145/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "m145",
- "content": []
+ "id": "op3+4"
}
]
-}
\ No newline at end of file
+}
diff --git a/src/assets/data/edition/series/1/section/5/m146/intro.json b/src/assets/data/edition/series/1/section/5/m146/intro.json
index 01aa40b298..1d26375a80 100644
--- a/src/assets/data/edition/series/1/section/5/m146/intro.json
+++ b/src/assets/data/edition/series/1/section/5/m146/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "m146",
- "content": []
+ "id": "op3+4"
}
]
-}
\ No newline at end of file
+}
diff --git a/src/assets/data/edition/series/1/section/5/op12/intro.json b/src/assets/data/edition/series/1/section/5/op12/intro.json
index 396f5c04bb..b5332d1c3e 100644
--- a/src/assets/data/edition/series/1/section/5/op12/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op12/intro.json
@@ -1,83 +1,7 @@
{
"intro": [
{
- "id": "op12",
- "content": [
- "Vier Lieder op. 12",
- "Die Entstehungsdaten der einzelnen Verlaufsskizzen zu den Vier Liedern op. 12 gruppieren sich in zwei deutlich voneinander getrennte Phasen: Anfang 1915 komponierte Webern zuerst „Der Tag ist vergangen“ M 212 und „Schien mir’s, als ich sah die Sonne“ M 213; im Frühjahr 1917 entstanden Gleich und Gleich M 216 und Die geheimnisvolle Flöte M 217. Beide Zeiträume fallen in eine von ca. 1914 bis Mitte der 1920er Jahre anzusetzende Schaffensperiode, die durch eine Konzentration Weberns auf Vokalkompositionen, insbesondere für Solo-Singstimme mit Ensemblebegleitung geprägt war, von denen die meisten ab 1924 in den Opera 13–19 publiziert wurden (vgl. AWG I/4). Die Vier Lieder op. 12 sind entstehungsgeschichtlich auch in diesem Kontext zu sehen. Die vorliegende Edition ordnet sie mit Blick auf ihre Besetzung für Singstimme und Klavier der Abteilung AWG I/5 zu.",
- "Die zeitliche Lücke von über zwei Jahren bei der Komposition der Lieder aus op. 12 hängt zusammen mit einer einschneidenden historischen Zäsur: Der Ausbruch des Ersten Weltkriegs Ende Juli 1914 bedeutete auch für Webern eine Umstellung aller seiner bisherigen Planungen. Nach wiederholten gesundheitlichen Problemen während seiner Engagements als Dirigent an verschiedenen Theatern seit 1909 hatte Webern von August bis Oktober 1913 Therapiesitzungen bei dem Psychoanalytiker Alfred Adler besucht, in deren Anschluss er sich wieder in der Verfassung fühlte, Kapellmeister-Tätigkeiten zu übernehmen. Eine entsprechende Stelle in Stettin (heute Szczecin in Polen) hatte er für Sommer 1914 angenommen, die Verpflichtung wurde aber kriegsbedingt wieder aufgelöst. Stattdessen bemühte sich Webern nun in seiner ersten Begeisterung für das Kriegsgeschehen um eine militärische Einberufung, wurde jedoch auf Grund seines Alters und Gesundheitszustandes erst im November 1914 gemustert und im Februar 1915 im Rahmen einer „Einjährigen“-Schulung zunächst in Klagenfurt und Görz (Gorizia) stationiert.72 Abgesehen von kürzeren Unterbrechungen leistete Webern in der Folge Militärdienst bis Ende 1916.",
- "Die beiden im Januar 1915 komponierten Klavierlieder sind Weberns erste nach Kriegsanfang abgeschlossenen Kompositionen und die einzigen, die vor seiner Stationierung entstanden. Nachdem Webern bereits Mitte Dezember 1914 an Heinrich Jalowetz geschrieben hatte, dass er „wieder mit etwas begonnen“ habe,73 berichtete er ihm erneut am 10. Januar – wenige Tage vor der Datierung der Verlaufsskizze von „Der Tag ist vergangen“ M 212 in A (13. Januar 1915) – von der anhaltenden produktiven Phase: „Ich schreibe nun wieder neues, d. h. mach mich eigentlich erst daran.“74",
- "Der Text zu „Der Tag ist vergangen“ M 212 stammt aus Peter Roseggers Roman Peter Mayr, der Wirt an der Mahr. Eine Geschichte aus deutscher Heldenzeit.75 Das Buch handelt von einer historischen Figur der sogenannten Tiroler Freiheitskämpfe nach 1805, deren Gewissensnöte zwischen sozial und religiös fundierter Friedenssehnsucht einerseits sowie politisch-nationalen Emanzipationsbestrebungen andererseits als heiligenähnliches Martyrium dargestellt werden. Webern hatte das Buch Anfang 1915 gelesen, wie aus einem Brief an Arnold Schönberg vom 9. Januar hervorgeht, in dem er eine längere Passage über ein darin beschriebenes religiöses Offenbarungserlebnis zitiert.76 Der Autor Rosegger spielte für Webern aber bereits seit spätestens 1912 eine große Rolle, wie insbesondere aus zahlreichen Erwähnungen in Briefen an Alban Berg und Schönberg deutlich wird.77 Neben Weberns Interesse an der religiösen Sphäre des Buches dürfte auch dessen nationalistischer Tenor seiner eigenen Kriegseuphorie in dieser Zeit entsprochen haben. In dem zweistrophigen (in älteren Ausgaben des Romans: auch vierstrophigen) Text verwendet Rosegger Formulierungen volkstümlich überlieferter Kirchenfahrt-Lieder78 und bettet ihn in die abendliche Szene einer als Massenwallfahrt getarnten militärischen Widerstandsaktion ein, in der einige Pilger die „schwermütigen Töne dieses Liedes“ mit „hellen Stimmen“ singen.",
- "Vermutlich entstand die Reinschrift der Textfassung 1 von „Der Tag ist vergangen“ M 212 in B in zeitlicher Nähe zur datierten Verlaufsskizze. Wann genau die Überarbeitung in A und B sowie die daraus resultierende Niederschrift von Textfassung 2 in C erfolgte, ist nicht zu eruieren. Immerhin deutet die sowohl in B als auch in C für den vertonten Text verwendete rote Tinte sowie die Kurrentschrift auf einen ähnlichen Zeitraum, vermutlich noch vor Weberns Stationierung in Klagenfurt. Textfassung 2 diente jedenfalls als Vorlage für den Einzelabdruck von „Der Tag ist vergangen“ M 212 in den Musikblättern des Anbruch im Mai 1922 (E).79 Für die Publikation in der 1925 erschienenen Sammlung Vier Lieder op. 12 (G) erstellte Webern eine eigene Vorlage (Textfassung 3 in F). Webern verzichtete (wie bei vielen anderen seiner Kompositionen auf Texte Roseggers) in allen Niederschriften und Abdrucken dieses Liedes auf eine Angabe des Textautors. In den Vier Liedern op. 12 weist er es als „Volkslied“ aus.",
- "In einem Brief an Schönberg vom 21. Januar 1915 berichtet Webern über die Fertigstellung eines „Klavierliedes“ (also vermutlich „Der Tag ist vergangen“ M 212) und erwähnt, dass er zwei weitere Lieder „angefangen“ habe.80 Eines davon dürfte „Schien mir’s, als ich sah die Sonne“ M 213 gewesen sein, dessen Verlaufsskizze in A mit dem 31. Januar 1915 datiert ist. (Bei dem zweiten Lied handelt es sich vermutlich um das nicht vollendete Trakl-Lied „In der Heimat“ M 214.)",
- "Der Text von „Schien mir’s, als ich sah die Sonne“ M 213 stammt aus August Strindbergs Stück Gespenstersonate (schwedischer Originaltitel: Spöksonaten). In Weberns Bibliothek hat sich ein Exemplar der deutschen Übersetzung durch Emil Schering erhalten, das mit dem autographen Datumseintrag „2. VII[.] 09.“ (Wilhelmine Mörtls 23. Geburtstag) versehen ist.81 Webern hatte Strindbergs Werke für sich bereits 1908 entdeckt, und der schwedische Autor spielte seitdem sowohl in der Kommunikation mit Schönberg als auch mit Berg eine entscheidende Rolle.82 Das Gedicht erscheint im Dramentext der genannten Ausgabe zweimal als Lied, am Ende des zweiten sowie kurz vor dem Ende des dritten und letzten Akts, in dem die (tödliche) Aussprache zwischen dem „Studenten“ und dem „Fräulein“ erfolgt. Das Lied wird vom Studenten vorgetragen, der beim ersten Mal vom Fräulein „auf einer Harfe“ begleitet wird; beim zweiten Mal, nach dem Tod des Fräuleins, „säuselt [es] in den Saiten der Harfe“.",
- "In einer kurzen Skizze für Frauen- und Kinderchor („Schien mir’s, als ich sah die Sonne“ M 198), die von Webern vermutlich nachträglich mit „Winter 1913/1914“ datiert wurde, hatte der Komponist bereits schon einmal eine Vertonung des Texts begonnen, die allerdings nicht über die erste Zeile hinauskam. Die auf der Grundlage der Verlaufsskizze in A erfolgte Niederschrift des Klavierliedes „Schien mir’s als ich sah die Sonne“ M 213 in C weist zahlreiche Überarbeitungsspuren auf, deren Zustand ante correcturam jedoch nicht eindeutig zu bestimmen ist. Die Verwendung von Kurrentschrift sowie der gleichen roten Tinte für den vertonten Text wie in den Niederschriften von „Der Tag ist vergangen“ M 212 in B und C deutet auf eine gewisse zeitliche Nähe der Grundschicht auch von „Schien mir’s als ich sah die Sonne“ M 213 zu diesen hin: möglicherweise entstand es also ebenfalls vor der Stationierung Weberns in Klagenfurt im Februar 1915.",
- "Aus Weberns Militärzeit 1915 und 1916 sind keine Kompositionsversuche überliefert. Im Januar 1917 schreibt er an Jalowetz:",
- "Ich erhole mich jetzt allmählich von den 2 Jahren – geistig. Jetzt erst spüre ich so recht die Wirkung. Langsam knüpfe ich wieder an, finde mich zu recht. Allmählich fällt mir wieder ein, was ich früher gedacht hatte, wo ich stehn geblieben war.83",
- "Weberns erste vollendete Komposition nach der zweijährigen Militärzeit ist Gleich und Gleich M 216, dessen Verlaufsskizze in A mit dem 31. März 1917 datiert ist. Nach dem 1903 komponierten Klavierlied Blumengruß M 2084 handelt es sich hier um die zweite Goethe-Vertonung Weberns überhaupt. Eine eingehendere Rezeption dieses Dichters durch Webern vor 1917 ist nicht dokumentiert, auch wenn sich Erwähnungen zur Lektüre sporadisch finden.85 Laut seinem eigenhändigen in den 1910er Jahren begonnenen Bücher- und Notenverzeichnis besaß Webern die folgende Ausgabe: Sämtliche Werke. Jubiläumsausgabe in 40 Bänden, Stuttgart und Berlin: Cotta, [1902–1912].86 Weitere Spuren einer kompositorischen Auseinandersetzung mit Goethe-Texten in diesem zeitlichen Umfeld finden sich in zwei weiteren Skizzen bzw. Fragmenten von 1917 (Gegenwart für Gesang [Bariton?] und Klavier M 220) und 1918 (Cirrus für Gesang und Orchester M 235).'87",
- "Die Niederschrift der Textfassung 1 von Gleich und Gleich M 216 in C ist vermutlich in zeitlicher Nähe zur Verlaufsskizze entstanden. Sie weist Änderungen im Sinne von Textfassung 2 in F auf, die für die Druckfassung von 1925 erarbeitet wurde. Eine weitere, nicht überarbeitete Niederschrift von Textfassung 1 in D ist u. a. aufgrund der verwendeten lateinischen Schrift für den vertonten Text chronologisch nach C einzuordnen. Über den genauen Zeitpunkt und die Funktion dieser Niederschrift ist nichts bekannt. Die Bezeichnung als „op. 12“ im Titel deutet auf ein Datum frühestens nach April 1920 hin (siehe unten).",
- "In einem seiner späteren Vorträge „Wege zur neuen Musik“ von Anfang 1932 erwähnt Webern die Einleitungstakte von Gleich und Gleich M 216 als ein Beispiel für die bereits intuitiv erfassten Prinzipien der späteren Zwölftonkomposition, da in jenen alle zwölf Tonhöhenklassen der chromatischen Skala präsentiert werden: „Das Gesetz war uns damals noch nicht bewußt, aber es war längst gefühlt.“88 Seine nächsten vollendeten Goethe-Vertonungen, die Zwei Lieder op. 19, stammen erst von 1925/26. Diese gehören zu seinen ersten ausdrücklichen Zwölftonkompositionen und sind gleichzeitig seine letzten vollendeten auf Texte Goethes.",
- "Die Verlaufsskizze in A von Die geheimnisvolle Flöte M 217 ist mit dem 10. April 1917 datiert, schließt zeitlich also unmittelbar an die Beendigung von Gleich und Gleich M 216 an. (In Briefen an Berg, Jalowetz oder Schönberg aus dieser Zeit erwähnt Webern keine dieser beiden Arbeiten.) Der vertonte Text von Die geheimnisvolle Flöte ist eine freie Nachdichtung eines Gedichts des chinesischen Autors Li Tai-po (lies: Li Bai) aus Hans Bethges zuerst 1907 erschienener Sammlung Die chinesische Flöte. Das in Weberns Nachlass erhaltene Exemplar der vierten Auflage des Buches weist den autographen Datumseintrag „3. 12. 12.“ (sein 29. Geburtstag) auf der Rückseite des vorderen Einbanddeckels auf.89 Einige Gedichte dieser Sammlung waren Webern spätestens bereits ein Jahr zuvor als Vorlage von Gustav Mahlers&ngsp;Lied von der Erde bekannt geworden, dessen Uraufführung er am 20. November 1911 in München beigewohnt hatte.90 Er selbst hatte aus Die chinesische Flöte bereits im Februar 1914 das Orchesterlied Die Einsame M 199 komponiert; im Juli 1917 folgte In der Fremde M 223. Diese beiden Lieder wurden später in die Vier Lieder für Gesang und Orchester op. 13 eingegliedert. Darüber hinaus sind zwei weitere unvollendete Entwürfe Weberns auf Texte aus Die Chinesische Flöte überliefert: Nächtliches Bild M 233 (Herbst 1918) und Der Frühlingsregen M 244 (vermutlich 1920).",
- "Die Grundschicht der Niederschrift von Die geheimnisvolle Flöte M 217 in C (Textfassung „0“) lässt sich nicht mehr eindeutig entziffern. Sie dürfte aber, wie im Falle von Gleich und Gleich M 216 in C, in zeitlicher Nähe zur Verlaufsskizze entstanden sein und weist Änderungen mit Tinte und Bleistift auf. Zusammen mit einem ebenfalls nicht mehr eindeutig zu eruierenden Zwischenstadium erfolgten diese möglicherweise bereits im Sinne von Textfassung 1 in F, die für die Druckfassung von 1925 erarbeitet wurde.",
- "Die Zusammenstellung der vier Klavierlieder zu einer mit Opuszahl versehenen Sammlung erfolgte spätestens 1920, als Webern in einer vermutlich nach April dieses Jahres für die Universal Edition angefertigten Werkliste auch „4 Klavierlieder“ als „op. 10“ anführt.91 Diese Opuszahl entspricht einer getilgten Zählung auf dem Umschlagblatt von Quelle C, wo sie später zu „op. 12“ korrigiert wurde.92 Diese in Abhängigkeit zur Zählung anderer Werke vorgenommene Änderung erfolgte spätestens Anfang 1921: In einem im Februar erschienenen Artikel von Egon Wellesz werden die Lieder explizit als „opus 12“ angesprochen.93 Die in dieser Publikation enthaltenen Notenbeispiele sind auf der Grundlage von Textfassung 2 von „Der Tag ist vergangen“ M 212 bzw. Textfassung 1 von Gleich und Gleich M 216 angefertigt worden, also vermutlich mit C oder (im Falle von M 216:) D im entsprechenden Korrekturstadium als Vorlage. Im Mai 1922 erschien Textfassung 2 von „Der Tag ist vergangen“ M 212 separat (aber mit Hinweis auf die Zugehörigkeit zu op. 12) als Notenbeilage in den Musikblättern des Anbruch (E). Webern überarbeitete „Der Tag ist vergangen“ M 212 in seinem Handexemplar EH zu Textfassung 3 und Gleich und Gleich M 216 in C zu Textfassung 2. Bis spätestens zum Jahreswechsel 1924/25 erstellte er eine Stichvorlage F der Vier Lieder op. 12, die er in einem Brief an den Direktor der Universal Edition, Emil Hertzka, vom 3. Januar 1925 als eine seiner Arbeiten, die er „derzeit im ‚Vorrat‘ habe“, dem Verlag anbot und offensichtlich kurz darauf übergab.94 Am 12. Juni desselben Jahres sandte er die imprimierte zweite Korrektur des Stiches an den Verlag, am 20. Juni das imprimierte Titelblatt.95 Der Druck G der Vier Lieder op. 12 erschien am 30. September 1925 in einer Auflage von 499 Exemplaren.96",
- "Eine begeisterte Reaktion erhielt Webern von Alban Berg, der ihm wenige Tage nach dem Erscheinen der Lieder schrieb:",
- "Was für eine große Freude hast Du mir, mein Lieber, mit Deinem Op. 12 gemacht! Das ist wiederum – so wie ja alles von Dir – ein echter Webern. Schon die Zusammenstellung der wundervollen Texte u. die Zusammenziehung zu einem&ngsp;Ganzen! Und gar erst die Musik! Ja es erscheint mir, als sähe ich Dich auf ganz neue Weise. Welch ein Ton in dem Strindberg-lied. Und überhaupt welch eine Vielfalt in den 4 Liedern. Das letzte z. Bsp[.]: eine solche Anmuth. Man kann ruhig sagen: die findet sich sonst in der ganzen Musikliteratur nicht wieder –; so ein Lied von Dir ist für mich geradezu ein Freudenspender, ein Spender einer mein ganzes Sein überstrahlenden Freude. Wie wenn an trüben Tagen plötzlich die Sonne hervorbricht u. man gar nicht weiß, warum man plötzlich froh wird.97",
- "Die Uraufführung des gesamten Opus 12 fand am 8. Januar 1927 im kleinen Saal des Musikvereins Wien mit der niederländischen Sängerin Co van Geuns und Eduard Steuermann am Klavier statt. Im selben Konzert wurde Alban Bergs Lyrische Suite durch das Wiener Streichquartett (Kolisch-Quartett) uraufgeführt sowie Johann Sebastian Bachs Konzert für vier Klaviere BWV 1065 unter Weberns Dirigat gespielt.98 Zur Uraufführung seiner Lieder schrieb Webern an Schönberg einige Tage später lapidar: „Am selben Abend wie das Quartett Bergs wurde auch ein Lieder-Opus von mir uraufgeführt. Das gelang sehr gut.“99 Auch in einer positiven Besprechung des Konzerts der Arbeiter-Zeitung steht die Komposition Bergs im Vordergrund, über die Vier Lieder op. 12 heißt es vergleichsweise kurz:",
- "Viel Erfolg hatten auch neue Lieder von Anton W e b e r n , die Co van G e u n s , von Eduard S t e u e r m a n n am Klavier geleitet, mit hervorragender Musikalität vortrug. Hier sind kurze lyrische Gedichte in Tonformen gepreßt, deren Zusammensetzung dem unbefangenen Hörer nicht klar sein kann. Er muß sich also an die Ausdruckswerte halten, die reichlich zu finden sind, auch wenn es durch die merkwürdige Führung der Gesangstimme schwer ist, ihr immer zu folgen. Die Lieder wurden wiederholt und dadurch leichter verständlich gemacht.100",
- "Laut einem Tagebucheintrag Weberns war Gleich und Gleich M 216 bereits im Oktober 1926 von einer „holl.[ändischen] Sängerin“ gesungen worden,101 vermutlich ebenfalls von van Geuns, die einige Zeit nach der Uraufführung der Vier Lieder op. 12 Anfang Januar 1927 auch in Köln mit Liedern von Webern (also wahrscheinlich auch aus op. 12) und von Alexander Zemlinsky auftrat.102 Wie bei den George-Liedern wurde bei mehreren Aufführungen zu Weberns Lebzeiten (und wohl mit dessen Einverständnis bzw. auf seine Anregung hin) wiederholt nur eine Auswahl der Vier Lieder op. 12 gesungen bzw. wurden einzelne Lieder mit solchen aus den George-Liedern op. 3 und op. 4 kombiniert. Nachweisbar sind, neben den erwähnten Aufführungen mit van Geuns, Konzerte an folgenden Daten:",
- "– 26. Oktober 1928, London, Wigmore Hall, Ruzena Herlinger und Eduard Steuermann: op. 3/1, 3/2, 3/5, 12/1 und 12/4.103",
- "– 25. Oktober 1929, Brüssel, Palais des Beaux-Arts, Ruzena Herlinger und Stefan Askenase: Lieder aus op. 4 und op. 12.104",
- "– 13. April 1931, Wien, Kleiner Musikvereins-Saal, Aenne Michalsky und Eduard Steuermann: op. 4/1, 3/1, 3/2, 3/5, 12/1 und 12/4.105",
- "– 18. November 1931, Amsterdam, Berthe Seroen und Phons Dusch: op. 3/1, 3/3, 12/2.106",
- "– 2. Dezember 1933, Wien, Kleiner Musikvereins-Saal (Konzert der IGNM zu Weberns 60. Geburtstag), Aenne Michalsky und Eduard Steuermann: Lieder aus op. 3, 4 und 12.107",
- "– 9. Mai 1935, Wien, Musikverein (Konzert der Hertzka-Gedächtnis-Stiftung), Julia Nessy (Gesang): Vier Lieder op. 12.108",
- "– 21. November 1935, Wien, Hagenbund (Konzert des Vereins für neue Musik), Julia Nessy (Gesang): Vier Lieder op. 12.109",
- "– 10. Februar 1940, Basel, Konservatorium (Konzert der IGNM, Ortsgruppe Basel), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf Lieder nach Gedichten von Stefan George op. 4 (Uraufführung der vollständigen Sammlung) sowie op. 12/2, 12/4 und 12/1.110",
- "– 28. März 1941, Zürich, Zunfthaus „Zur Saffran“ (Konzert der IGNM, Pro Musica, Ortsgruppe Zürich), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf George-Lieder sowie drei Lieder aus op. 12.111",
- "Zu den meisten der Ausführenden hatte Webern persönlichen Kontakt und in einigen Fällen bei der Einstudierung mitgewirkt. In seinem Handexemplar der Vier Lieder op. 12 (GH) finden sich verschiedene Zeitangaben zu den einzelnen Liedern. Ob diese im Zusammenhang mit einer der genannten Aufführungen stehen, ist nicht nachweisbar."
- ],
- "footnotes": [
- "72 | Zu diesen und den im weiteren Kriegsverlauf folgenden biographischen Stationen vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 157–170 und 189–201. ",
- "73 | Webern an Jalowetz, 18. Dezember 1914 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 329 f., hier S. 329). Möglicherweise bezieht sich Weberns Bemerkung auf einige Fragmente, die in Moldenhauers „Werkverzeichnis“ numerisch unmittelbar vor „Der Tag ist vergangen“ M 212 eingeordnet und dort auf „1914“ bzw. „1914 oder später“ datiert wurden, d. h. M 207–211. Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 642 und 660. ",
- "74 | Webern an Jalowetz, 10. Januar 1915 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 332 f., hier S. 333). ",
- "75 | Erstdruck Wien: A. Hartleben, 1891. Webern benutzte vermutlich die überarbeitete Fassung des Romans in den „Gesammelten Werken“ Roseggers, Bd. 19, Leipzig: Staackmann, 1914, S. 214 („Der Tag ist vergangen …“): Rosegger_PM. Vgl. Elisabeth Kaiser, Rosegger-Rezeption bei Anton Webern, Frankfurt am Main: Peter Lang, 2013, S. 77. ",
- "76 | Webern an Schönberg, 9. Januar 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18237]). ",
- "77 | Für eine Übersicht der nachgewiesenen Rosegger-Lektüren Weberns vgl. Kaiser, Rosegger-Rezeption (Anm. 75), S. 38–41. Am 3. September 1914 schrieb Webern begeistert an Berg, dass er den Schriftsteller auf einer Zugfahrt von Klagenfurt nach Wien gesehen habe (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Ich habe in Krieglach den Rosegger gesehn (auf der Rückfahrt)[.] Wunderbar. Er fuhr eine Station im selben Zug: nach Langenwang.“ ",
- "78 | Vgl. Kaiser, Rosegger-Rezeption (Anm. 75), S. 76 f. ",
- "79 | Zu dem Lied heißt es im Textteil der Zeitschrift (N. N., „Anton v. Webern“, in: Musikblätter des Anbruch 4/9–10 [Mai 1922], S. 150): „Unsere Notenbeilage vermittelt einen Einblick in das Wesen seiner neuen Kompositionen.“ Die Notenbeilage datiert das Lied gleichwohl richtig auf 1915, also immerhin sieben Jahre zuvor. ",
- "80 | Webern an Schönberg, 21. Januar 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18240]). ",
- "81 | August Strindberg, Gespenstersonate, in: ders., Kammerspiele, verdeutscht von Emil Schering, München und Leipzig: Georg Müller, 1908 (Strindbergs Werke. Deutsche Gesamtausgabe unter Mitwirkung von Emil Schering als Übersetzer, vom Dichter selbst veranstaltet. I. Abteilung: Dramen. Kammerspiele [Band 9]), [Heft 3], S. 46[c] („Schien mirs, als ich sah die Sonne!“): Strindberg_Gs. Weberns Exemplar in CH-Bps, Sammlung Anton Webern, trägt die Signatur AW B 1129. Der handschriftliche Datumseintrag findet sich auf S. [6]. ",
- "82 | Zum „Einfluß Strindbergs“ auf Webern vgl. Ernst Lichtenhahn, „Einleitung“, in: Webern, Briefe an Heinrich Jalowetz (Anm. 10), S. 9–108, hier S. 80–88. ",
- "83 | Webern an Jalowetz, 28. Januar 1917 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 355). ",
- "84 | In Hans und Rosaleen Moldenhauer, Anton von Webern. A Chronicle of His Life and Work, New York: Alfred A. Knopf, 1979, S. 700 und 720, wird Blumengruß als „M 21“ gezählt. ",
- "85 | Vgl. z. B. Webern an Berg, 21. Dezember 1911 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]: „Ich lese „Wilhelm Meister“ und bin aufs höchste beglückt über dieses Buch.“ ",
- "86 | Gleich und Gleich findet sich in Bd. 1, Gedichte. Erster Teil, S. 19: Goethe_JA. Exemplare Weberns dieser Ausgabe sind nicht überliefert. Das Verzeichnis findet sich in CH-Bps, Sammlung Anton Webern. ",
- "87 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 250. Die Zusammenstellung der beiden Kompositionen zu „Zwei Goethe-Lieder“ (ebd. S. 661) ist eine Setzung Moldenhauers und nicht durch die Quellen selbst dokumentiert. ",
- "88 | Anton Webern, Wege zur neuen Musik, hg. von Willi Reich, Wien: Universal Edition, 1960, S. 55 (Vortrag vom 12. Februar 1932). ",
- "89 | Hans Bethge, Die chinesische Flöte, Leipzig: Inselverlag, 4[1914] S. 35 (Die geheimnisvolle Flöte): Bethge_DchF. Weberns Exemplar in CH-Bps, Sammlung Anton Webern, trägt die Signatur AW B 1027. ",
- "90 | Tatsächlich kannte Webern die von Mahler für Das Lied von der Erde eingerichteten Texte bereits vor der Uraufführung. Vgl. Webern an Berg, 30. Oktober 1911 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Wenn Du in beiliegendem Blatt den Schluß der Dichtung vom ‚Lied der Erde‘ gelesen hast, mein Lieber, erwartest Du Dir dann nicht das Wunderbarste von der Musik, das es gibt; etwas so Herrliches, wie es nie existiert hat. ‚Du mein Freund, mir war auf dieser Welt das Glück nicht hold! Wohin ich geh’ und wandere in die Berge, ich suche Ruhe, Ruhe für mein einsam Herz!...‘ Um Himmels willen, welche Musik muß das sein! Ich bilde mir ein, ich muß schon jetzt darauf kommen, bevor ich sie noch hörte. Mensch, kannst Du das aushalten. Ich nicht.“ Zu dem eminenten Eindruck von Mahlers Komposition auch im Zusammenhang der vermeintlich ‚chinesischen‘ Texte auf Webern vgl. Matthias Schmidt, „Übersetzung ohne Original? Gustav Mahler, Anton Webern und Li Bai“, in: Der doppelte Po und die Musik. Chinesisch-rätoromanische Studien, besonders zu Li Po, Harry Partch und Chasper Po, hg. von Mathias Gredig, Marc Winter, Rico Valär und Roman Brotbeck unter redaktioneller Mitarbeit von Daniel Allenbach, Würzburg: Königshausen & Neumann, 2021, S. 281–299. ",
- "91 | A-Wst, Depositum Universal Edition, Anton Webern. Abbildung und Transkription dieser Liste in Julia Bungardt, „Einleitung“ (Anm. 22), S. 28 f. Die Werkliste reicht bis zu den hier als „op. 12“ gezählten Trakl-Liedern op. 14. ",
- "92 | Im Umfeld dieser Korrektur lässt sich auch eine „13“ in einer weiteren radierten Schicht entziffern. ",
- "93 | Egon Wellesz, „Anton von Webern: Lieder opus 12, 13, 14“, in: Melos 2/2 (Februar 1921), S. 38–40. Vgl. auch Webern an Jalowetz, 13. März 1921 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 481): „In Scherchens Zeitschrift ‚Melos‘ war ein Aufsatz des Wellesz über Lieder op. 12, 13. u. 14. von mir. Das hat mich sehr gefreut.“ ",
- "94 | Webern an Hertzka, 3. Januar 1925 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 101–104, hier S. 101). Vgl. auch Webern an Hertzka, 21. März 1925 (ebd., S. 106 f., hier S. 106): „Schon Anfang Jänner brachte ich Ihnen ein Heft von 4 Klavier-Liedern, op. 12, u. Sie stellten mir damals deren baldiges Erscheinen in Aussicht.“ Ein erster Vertrag datiert vom 5. Februar 1925, ein revidierter Vertrag vom 3. April 1925. ",
- "95 | Vgl. Webern an die Universal Edition, 12. Juni und 20. Juni 1925 (ebd., S. 110 f.). ",
- "96 | Vgl. ebd. (Anhang), S. 340 f. ",
- "97 | Berg an Webern, 12. Oktober 1925 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]). ",
- "98 | Vgl. Ankündigung des Konzerts in: Neue Freie Presse, 5. Januar 1927, S. 9. Laut einer Besprechung der Uraufführung der Lyrischen Suite Bergs, ging dieser noch eine Wiedergabe von Ludwig van Beethovens Klaviertrio in Es-Dur op. 70/2 voraus (vgl. Neues Wiener Journal, 12. Januar 1927, S. 11: ohne Erwähnung der Lieder Weberns und des Bach-Konzerts). Laut einer Ankündigung in: Die Stunde, 9. Januar 1927, S. 1, sang Co van Geuns am folgenden Tag noch einmal „Lieder von Anton Webern“ im kleinen Saal des Musikvereins. Über Einzelheiten dieses Konzerts ist nichts bekannt. In einem Brief an Jalowetz von 20. Dezember 1926 schreibt Webern von insgesamt sechs Liedern, die im Januar aufgeführt werden sollten: „Im Jänner singt eine holländische Sängerin 6 Lieder von mir hier in Wien.“ (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 570). Möglicherweise hatte van Geuns eine Kombination der Lieder aus op. 12 mit George-Liedern Weberns vorbereitet. ",
- "99 | Webern an Schönberg, 17. Januar 1927 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22230]). ",
- "100 | pp. [Paul Pisk], „Neue Musik im Konzertsaal“, in: Arbeiter-Zeitung [Wien], 11. Januar 1927, S. 7. ",
- "101 | Anton Webern, Notizbuch (CH-Bps, Sammlung Anton Webern). Zitiert nach Moldenhauer, Anton von Webern (Anm. 18), S. 240. Über die Einzelheiten dieses Konzertes ist nichts bekannt. ",
- "102 | N. N., „Konzertierende Künstler und neue Musik“, in: Musikblätter des Anbruch 9/3 (März 1927), S. 153: „Co van G e u n s sang in Köln Lieder von Webern und Zemlinsky mit Erfolg“. Vgl. auch Webern, Briefe an Heinrich Jalowetz (Anm. 10), S. 572. ",
- "103 | Vgl. Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936 (Anm. 63), S. 345. ",
- "104 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 240. Vgl. auch ebd.: „Im gleichen Jahr waren drei der Vier Lieder in Frankfurt zu hören.“ ",
- "105 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 325 (Abbildung des vollständigen Programms). ",
- "106 | Vgl. Universal Edition (Erwin Stein) an Webern, 18. November 1931 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 171 f., hier S. 171): „[…] Amsterdam führte Deine 4 Lieder op. 12 und 2 Lieder aus op. 3 (welche konnte ich bis jetzt nicht erfahren) am 18. ds. auf“, sowie den Kommentar der Herausgeberin. ",
- "107 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 364. ",
- "108 | Vgl. Webern an Josef Humplik, 8. Mai 1935 (A-Wn, HS 431/1–157): „Morgen abend, um ½ 7 werden in einer Veranstaltung der Hertzka-Gedächtnis-Stiftung Lieder von Schönberg, Berg u. mir [4 Lieder op. 12] gesungen […].“ Dass es sich bei der Sängerin um Nessy handelte, ergibt sich aus dem Zusammenhang mit der Aufführung der Vier Lieder op. 12 am 21. November 1935 (siehe unten Anm. 109). Wer die Klavier-Begleitung übernahm, ist nicht nachweisbar. ",
- "109 | Vgl. H. E. H., „Neue Musik im Hagenbund“, in: Wiener Zeitung, 23. November 1935, S. 9. Als Pianistin bzw. Pianist waren Olga Novacovic bzw. Eduard Steuermann an diesem Konzert beteiligt. Wer von diesen beiden Weberns Lieder begleitet hat, ist nicht nachweisbar. Moldenhauer, Anton von Webern (Anm. 18), S. 409, gibt irrtümlich an, dass an diesem Konzert Weberns Konzert op. 24 unter seiner Leitung aufgeführt worden wäre. Webern hatte diese angekündigte Aufführung jedoch zurückgezogen, die Vier Lieder op. 12 dienten als Ersatz. Vgl. Webern an Jone und Humplik, 20. November 1935 (A-Wn, HS 431/1–169): „Nun muß ich Euch mitteilen, dass ich mein ‚Konzert‘ für morgen zurückgezogen habe […]. […] Es ist möglich, dass statt des „Konzertes“ die Lieder gesungen werden, die Ihr den Mai dieses Jahres gehört habt. [Da dieselbe Sängerin sowieso mitwirkt.]“ Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Anton Webern und Minna Webern – Hildegard Jone und Josef Humplik. Korrespondenz 1926–1949, hg. von Barbara Schingnitz, Dissertation, Universität Basel, 2019. ",
- "110 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 476 f. Vgl. auch Erich Schmid, Lebenserinnerungen, Band 3 (Anm. 60), S. 48. ",
- "111 | Erich Schmid, Lebenserinnerungen, Band 1 (Anm. 70), S. 327, sowie ebd., Band 3 (Anm. 60), S. 53 f. Sehr wahrscheinlich handelte es sich um die gleiche Auswahl an Webern-Liedern wie am 10. Februar 1940 in Basel. "
- ]
+ "id": "op12"
}
]
}
diff --git a/src/assets/data/edition/series/1/section/5/op12/source-description.json b/src/assets/data/edition/series/1/section/5/op12/source-description.json
index 049a433022..799790b8f1 100644
--- a/src/assets/data/edition/series/1/section/5/op12/source-description.json
+++ b/src/assets/data/edition/series/1/section/5/op12/source-description.json
@@ -1000,7 +1000,7 @@
{
"item": "",
"itemLinkTo": {},
- "itemDescription": "Autograph von „Der Tag ist vergangen“ M 212: Textfassung 1→2",
+ "itemDescription": "Autograph von „Der Tag ist vergangen“ M 212: Textfassung 1→2",
"folios": [
{
"folio": "1r",
@@ -1066,7 +1066,7 @@
"id": "source_B_corr_1",
"label": "Korrekturen 1 in B (mit Tinte)",
"description": [
- "Die Beschreibung der Korrekturen bezieht sich auf „Der Tag ist vergangen“ M 212: Textfassung 1."
+ "Die Beschreibung der Korrekturen bezieht sich auf „Der Tag ist vergangen“ M 212: Textfassung 1."
],
"comments": [
{
@@ -1122,7 +1122,7 @@
"id": "source_B_corr_2",
"label": "Korrekturen 2 in B (mit Tinte)",
"description": [
- "Die Beschreibung der Korrekturen bezieht sich auf „Der Tag ist vergangen“ M 212: Textfassung 1."
+ "Die Beschreibung der Korrekturen bezieht sich auf „Der Tag ist vergangen“ M 212: Textfassung 1."
],
"comments": [
{
@@ -1592,6 +1592,262 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Ca_corr",
+ "label": "Korrekturen in Ca",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Der Tag ist vergangen“ M 212: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5/8",
+ "comment": "Rasur über System."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "e1 und fis1 überschreiben nicht zu identifizierende Tonhöhen."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "Staccatopunkt auf Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Crescendogabel gestrichen."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "Ped. gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Rasuren unter dem System."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "2/4",
+ "comment": "Pedal-Aufhebung gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "11
bis 12",
+ "system": "",
+ "position": "",
+ "comment": "sehr langsam in T. 11 3/4 gestrichen und geändert zu rit. (T. 11), molto (T. 12) und Geltungsstrichelung mit blauer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "({{ref.getGlyph('[b]')}}) zu es1/as1 gestrichen mit blauer Tinte.
zögernd gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Crescendogabel geändert zu Decrescendogabel mit Bleistift."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "({{ref.getGlyph('[a]')}}) zu F/e gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "I. Zeitmaß geändert zu tempo mit blauer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Rasur über dem System."
+ },
+ {
+ "measure": "14",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Crescendogabel gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Triolenklammer hinzugefügt mit Bleistift (Hs.?)"
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "Auf Rasur.
({{ref.getGlyph('[a]')}}) zu e/a gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "14
bis 15",
+ "system": "Ges.",
+ "position": "4. Note
2/8",
+ "comment": "Crescendogabel ergänzt mit blauer Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav. o.",
+ "position": "(2/4)",
+ "comment": "Triolenklammer hinzugefügt mit Bleistift (Hs.?)"
+ },
+ {
+ "measure": "15",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "15",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. o.",
+ "position": "3/4",
+ "comment": "Unterstimmenschicht: fis1 geändert zu ges1."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. u.",
+ "position": "3/4",
+ "comment": "cis geändert zu des."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Crescendogabel gestrichen mit Bleistift."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Unterstimmenschicht: des1/ges1 überschreibt cis1/fis1; Pfeil zu Notennamen ges | des am rechten Seitenrand. "
+ },
+ {
+ "measure": "20",
+ "system": "Klav. o.",
+ "position": "(2/4)",
+ "comment": "Decrescendogabel gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "21",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[p]')}} geändert zu {{ref.getGlyph('[pp]')}} mit blauer Tinte."
+ },
+ {
+ "measure": "21
bis 22",
+ "system": "Klav. o.",
+ "position": "1. Note
2/4",
+ "comment": "Legatobogen ergänzt mit Bleistift."
+ },
+ {
+ "measure": "22",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "({{ref.getGlyph('[b]')}}) zu es1 und ({{ref.getGlyph('[a]')}}) zu c2 (nach Akkoladenwechsel) gestrichen mit Bleistift (Hs. ?)."
+ },
+ {
+ "measure": "22",
+ "system": "Klav. o.",
+ "position": "1–2/4",
+ "comment": "Decrescendogabel gestrichen mit Bleistift."
+ },
+ {
+ "measure": "22",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "({{ref.getGlyph('[a]')}}) zu H/g (nach Akkoladenwechsel) gestrichen mit Bleistift (Hs. ?)."
+ },
+ {
+ "measure": "22",
+ "system": "Klav. o.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[pp]')}} geändert zu {{ref.getGlyph('[ppp]')}} mit blauer Tinte."
+ },
+ {
+ "measure": "22
bis 23",
+ "system": "Klav. o.",
+ "position": "2/4",
+ "comment": "Gis1/Cis geändert zu As1/Des."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Cb_corr",
+ "label": "Korrekturen in Cb",
+ "description": [
+ "Cb weist zwei voneinander unterscheidbare Korrekturschichten auf: mit Tinte ggf. auf Rasur (Korrekturen 1) und mit Bleistift (Korrekturen 2). Der Zustand vor und nach Korrekturen 1 ist nicht eindeutig entzifferbar. Korrekturen 2 betreffen die Überarbeitung zu der in F etablierten Textfassung von Die geheimnisvolle Flöte M 217. Auf eine tabellarische Darstellung der beiden Korrekturschichten wird verzichtet, da sie auf Grund der zahlreichen Abweichungen der Grundschicht zu der edierten einzigen Textfassung nicht praktikabel ist."
+ ],
+ "comments": []
+ },
+ {
+ "id": "source_Cc_corr",
+ "label": "Korrekturen in Cc",
+ "description": [
+ "Cc weist zwei voneinander unterscheidbare Korrekturschichten auf: mit Tinte ggf. auf Rasur bzw. auf Tektur (Korrekturen 1) und mit Bleistift (Korrekturen 2). Der Zustand vor und nach Korrekturen 1 ist nicht eindeutig entzifferbar. Korrekturen 2 betreffen die Überarbeitung zu der in F etablierten Textfassung von „Schien mir’s, als ich sah die Sonne“ M 213. Auf eine tabellarische Darstellung der beiden Korrekturschichten wird verzichtet, da sie auf Grund der zahlreichen Abweichungen der Grundschicht zu der edierten einzigen Textfassung nicht praktikabel ist."
+ ],
+ "comments": []
+ },
+ {
+ "id": "source_Cd_corr",
+ "label": "Korrekturen in Cd",
+ "description": [
+ "Cd weist drei voneinander unterscheidbare Korrekturschichten auf: mit Tinte ggf. auf Rasur (Korrekturen 1), mit Bleistift (Korrekturen 2) und mit Kopierstift (Korrekturen 3). Der Zustand vor und nach Korrekturen 1 ist nicht eindeutig entzifferbar, post correcturam entspricht er in weiten Teilen Textfassung 1 von Gleich und Gleich („Ein Blumenglöckchen“) M 216. Korrekturen 2 und 3 betreffen die Überarbeitung zu der in F etablierten Textfassung 2. Auf eine tabellarische Darstellung der verschiedenen Korrekturschichten wird verzichtet, da sie auf Grund der zahlreichen Abweichungen der Grundschicht zu den beiden edierten Textfassungen nicht praktikabel ist."
+ ],
+ "comments": []
+ }
]
}
},
@@ -2605,7 +2861,7 @@
],
"comments": [
{
- "blockHeader": "I „Der Tag ist vergangen“ M 212",
+ "blockHeader": "I „Der Tag ist vergangen“ M 212",
"blockComments": [
{
"measure": "1",
diff --git a/src/assets/data/edition/series/1/section/5/op23/intro.json b/src/assets/data/edition/series/1/section/5/op23/intro.json
index d576e34537..cd45bfc25c 100644
--- a/src/assets/data/edition/series/1/section/5/op23/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op23/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "op23",
- "content": []
+ "id": "op23"
}
]
}
diff --git a/src/assets/data/edition/series/1/section/5/op25/intro.json b/src/assets/data/edition/series/1/section/5/op25/intro.json
index 6810d419dd..39c6d2c4d8 100644
--- a/src/assets/data/edition/series/1/section/5/op25/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op25/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "op25",
- "content": []
+ "id": "op25"
}
]
}
diff --git a/src/assets/data/edition/series/1/section/5/op25/source-description.json b/src/assets/data/edition/series/1/section/5/op25/source-description.json
index 3f7eb91d1f..127ac3c276 100644
--- a/src/assets/data/edition/series/1/section/5/op25/source-description.json
+++ b/src/assets/data/edition/series/1/section/5/op25/source-description.json
@@ -2180,18 +2180,916 @@
}
]
}
- ]
- }
- },
- {
- "id": "notA",
- "siglum": "",
- "siglumAddendum": "",
- "type": "",
- "location": "",
- "description": {
- "desc": [
- "[Die Beschreibung der in den Quellen gegebenenfalls enthaltenen Korrekturen erfolgt im Zusammenhang der vollständigen Edition der Drei Lieder nach Gedichten von Hildegard Jone op. 25 in AWG I/5.]"
+ ],
+ "corrections": [
+ {
+ "id": "source_E_corr1",
+ "label": "Korrekturen 1 in E",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Wie bin ich froh“ M 317: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "(5/8)",
+ "comment": "Geltungsstrichelung von rit. auf Rasur. Ante correcturam: rit. vermutlich versetzt von T. 1 5/8. Siehe TkA zu 4/8."
+ },
+ {
+ "measure": "10",
+ "system": "",
+ "position": "(3/4)",
+ "comment": "Geltungsstrichelung von rit. auf Rasur. Ante correcturam: rit. vermutlich versetzt von T. 10 3/4 zu Taktanfang."
+ },
+ {
+ "measure": "11
bis 12",
+ "system": "",
+ "position": "(4/4)",
+ "comment": "T. 11 4/4 wurde zum Teil auf handgezogenen Systemen am Akkoladenende ergänzt; am vom Systemanfang nach rechts verschobenen Akkoladenanfang vor T. 12 steht eine großflächige Rasur; weitere Rasuren in T. 12 Ges.; radierter Taktstrich nach T. 12 2/8. Ante correcturam: vermutlich eine dreitaktige Variante (T. [11–13]) mit Taktstrichen nach T. 11 6/8 (vor T. [12]) und nach T. 12 2/8 (vor T. [13]). Siehe M 317 Sk4 T. 13–15."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. u.",
+ "position": "2.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: Tonhöhen vermutlich im Violinschlüssel notiert. Siehe M 317 Sk4 T. 13–15."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_E_corr2",
+ "label": "Korrekturen 2 in E",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf die Textfassungen der Werkedition von Drei Lieder nach Gedichten von Hildegard Jone op. 25."
+ ],
+ "comments": [
+ {
+ "blockHeader": "I „Wie bin ich froh“ M 317",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "5–6/8",
+ "comment": "Auf Rasur. Ante correcturam: Aufteilung der Noten auf die Systeme vermutlich wie in Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Tenutostriche rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "vor 4",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Violinschlüssel versetzt von T. 4 vor 1. Note (dort Rasur; siehe Textfassung 1)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "8/8",
+ "comment": "Tenutostrich rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "5
bis 6",
+ "system": "Klav.",
+ "position": "5/8
1/8",
+ "comment": "Auf Rasur. Ante correcturam: Aufteilung der Noten auf die Systeme vermutlich wie in Textfassung 1."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "2. Note",
+ "comment": "Bleistiftskizzen über und unter der Akkolade (System 5 und 9) rasiert."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Ges.",
+ "position": "2. Note
2/8",
+ "comment": "Bogen rasiert (siehe Textfassung 1). Möglicherweise steht der Silbenbogen in T. 7 1–2/8 im Zusammenhang mit dieser Korrektur."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "nach 3/8",
+ "comment": "Violinschlüssel versetzt von vor 2. Note (dort Rasur; siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1). Möglicherweise steht der Silbenbogen in T. 8 3.–4. Note im Zusammenhang mit dieser Korrektur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Tenutostriche rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Tenutostriche rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Ges.",
+ "position": "8/8
2/8",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Tenutostrich rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "12",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "tempo I. ersetzt wieder tempo I. auf Rasur (siehe Textfassung 1)."
+ }
+ ]
+ },
+ {
+ "blockHeader": "II „Des Herzens Purpurvogel“ M 322",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Metronomangabe auf Rasur."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "1/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "3",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "3
bis 6",
+ "system": "Ges.",
+ "position": "6/16
3/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1–2/8",
+ "comment": "Auf Rasur. Ante correcturam: Hals- und Bogenausrichtung umgekehrt?"
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Ges.",
+ "position": "2/8
2/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "9",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "1/16",
+ "comment": "{{ref.getGlyph('[f]')}} auf Rasur."
+ },
+ {
+ "measure": "10",
+ "system": "",
+ "position": "4/16",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Ges.",
+ "position": "6/16
3/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "11",
+ "system": "Klav.",
+ "position": "2–6/16",
+ "comment": "Auf Rasur. Bleistiftskizzen über und unter dem Klav.-System (System 4 und 7) radiert."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2–3/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "13",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Crescendo- und Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Ges.",
+ "position": "2/8
6/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "15",
+ "system": "Klav.",
+ "position": "1–5/16",
+ "comment": "Rasur zwischen den Systemen. Ante correcturam: Gabel?"
+ },
+ {
+ "measure": "16",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "16
bis 17",
+ "system": "Ges.",
+ "position": "3/8
6/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[f]')}} auf Rasur."
+ },
+ {
+ "measure": "16
bis 17",
+ "system": "Klav. u.",
+ "position": "3/8
1/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "18
bis 19",
+ "system": "Ges.",
+ "position": "2/16
2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "19",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "20",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "21",
+ "system": "Klav. o.",
+ "position": "1/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "21",
+ "system": "Klav. u.",
+ "position": "2/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "23–24",
+ "system": "",
+ "position": "",
+ "comment": "rit. - - - tempo auf Rasur (bis Ende T. 24)."
+ },
+ {
+ "measure": "23",
+ "system": "Ges.",
+ "position": "2/16–2/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "23
bis 24",
+ "system": "Ges.",
+ "position": "3/8
1. Note",
+ "comment": "Anfang der Decrescendogabel auf Rasur. Ante correcturam: Ausdehnung der Gabel von T. 23 2/8 bis Taktende?"
+ },
+ {
+ "measure": "23
bis 24",
+ "system": "Klav. o.",
+ "position": "6/16
1/16",
+ "comment": "Auf Rasur. Ante correcturam: ges1? (Siehe M 322 Sk4 T. 12.)"
+ },
+ {
+ "measure": "24",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "25
bis 26",
+ "system": "Ges.",
+ "position": "1. Note
3/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "26",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "27",
+ "system": "Klav.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "27
bis 28",
+ "system": "Ges.",
+ "position": "4/16
2/16",
+ "comment": "Bogen rasiert. Crescendo- (T. 27 3/8) und Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "27
bis 28",
+ "system": "Klav.",
+ "position": "6/16
2/16",
+ "comment": "Bogen auf Rasur."
+ },
+ {
+ "measure": "29",
+ "system": "Ges.",
+ "position": "2–3/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "29
bis 30",
+ "system": "Ges.",
+ "position": "4/16
4/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "30",
+ "system": "",
+ "position": "6/16",
+ "comment": "tempo auf Rasur."
+ },
+ {
+ "measure": "30
bis 31",
+ "system": "Ges.",
+ "position": "6/16
3/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "31",
+ "system": "",
+ "position": "2/16",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "32",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Geltungsstrichelung von rit. (T. 31) auf Rasur."
+ },
+ {
+ "measure": "33",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "langsamer auf Rasur."
+ },
+ {
+ "measure": "33",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "33",
+ "system": "Ges.",
+ "position": "5–6/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "34",
+ "system": "Klav.",
+ "position": "2–4/16",
+ "comment": "Bogen rasiert. Staccatopunkt zu 4/16 auf Rasur."
+ },
+ {
+ "measure": "34",
+ "system": "Ges.",
+ "position": "4/16–3/8",
+ "comment": "Bogen rasiert. Tenutostrich zu 3/8 auf Rasur."
+ },
+ {
+ "measure": "35",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "35",
+ "system": "Ges.",
+ "position": "2–4/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "36",
+ "system": "Klav.",
+ "position": "2–4/16",
+ "comment": "{{ref.getGlyph('[pp]')}} und Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "37",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "37",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "37",
+ "system": "Klav.",
+ "position": "2/16",
+ "comment": "{{ref.getGlyph('[pp]')}} auf Rasur."
+ },
+ {
+ "measure": "38",
+ "system": "",
+ "position": "3/16",
+ "comment": "immer langsamer auf Rasur."
+ },
+ {
+ "measure": "38",
+ "system": "Klav. o.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[p]')}} auf Rasur."
+ },
+ {
+ "measure": "39",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert. Tenutostrich zu 3/8 auf Rasur."
+ },
+ {
+ "measure": "39",
+ "system": "Klav. u.",
+ "position": "2/8–6/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "40",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Rasur über Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "40",
+ "system": "Ges.",
+ "position": "2–5/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "40",
+ "system": "Klav.",
+ "position": "4–6/16",
+ "comment": "{{ref.getGlyph('[pp]')}} und Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "41",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "verlöschend auf Rasur."
+ },
+ {
+ "measure": "41",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert. Silbenbogen 2.–3. Note auf Rasur.
{{ref.getGlyph('[pp]')}}, Decrescendogabel (?) rasiert."
+ },
+ {
+ "measure": "nach 42",
+ "system": "",
+ "position": "",
+ "comment": "Bleistiftnotiz nach Schlusstaktstrich radiert."
+ }
+ ]
+ },
+ {
+ "blockHeader": "III „Sterne, ihr silbernen Bienen“ M 321",
+ "blockComments": [
+ {
+ "measure": "4–6",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "9
bis 14",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "13",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur. Siehe M 321 Sk8 T. 5: calando."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Klav.",
+ "position": "2/4
2/4",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "15
bis 16",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "15–21",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Teilweise auf Rasur. Ante correcturam: alternative Aufteilung der Noten auf die Systeme?"
+ },
+ {
+ "measure": "17",
+ "system": "",
+ "position": "",
+ "comment": "Geltungstrichelung von rit. (T. 13) und viel mäßiger (2/4) auf Rasur. Siehe M 321 Sk8 T. 6 2. TH: tempo."
+ },
+ {
+ "measure": "17
bis 20",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "19",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Bleistifteintragung (Text) radiert."
+ },
+ {
+ "measure": "20",
+ "system": "",
+ "position": "",
+ "comment": "Rasur über der Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "21",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Viertelpause ersetzt Viertelnote e2 mit Ligaturbogen von T. 20 2/4 auf Rasur."
+ },
+ {
+ "measure": "22",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. - - - auf Rasur. Siehe M 321 Sk8 T. 8A: calando."
+ },
+ {
+ "measure": "22–24",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "26–28",
+ "system": "",
+ "position": "",
+ "comment": "Bleistifteintragung (Text) radiert."
+ },
+ {
+ "measure": "28",
+ "system": "",
+ "position": "",
+ "comment": "Rasur über der Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "29
bis 31",
+ "system": "",
+ "position": "Taktanfang
1/4",
+ "comment": "rit.- - - auf Rasur."
+ },
+ {
+ "measure": "29
bis 30",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "31",
+ "system": "",
+ "position": "2/4",
+ "comment": "wieder viel mäßiger auf Rasur."
+ },
+ {
+ "measure": "31
bis 33",
+ "system": "Ges.",
+ "position": "2/4
1/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "33
bis 34",
+ "system": "Ges.",
+ "position": "2/4
2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "34",
+ "system": "Klav. o.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Bleistiftskizze im System darüber radiert."
+ },
+ {
+ "measure": "35",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. - - - auf Rasur."
+ },
+ {
+ "measure": "35",
+ "system": "Klav. u.",
+ "position": "1/4",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "35
bis 36",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "37",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "tempo I. auf Rasur."
+ },
+ {
+ "measure": "37
bis 38",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "39",
+ "system": "",
+ "position": "2/4",
+ "comment": "rit. - - - auf Rasur (ab Taktanfang)."
+ },
+ {
+ "measure": "39
bis 41",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "42
bis 45",
+ "system": "Ges.",
+ "position": "1. Note
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "43",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Siehe M 321 Sk8 T. 15: h–b1."
+ },
+ {
+ "measure": "46
bis 49",
+ "system": "Ges.",
+ "position": "1. Note
2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "48
bis 49",
+ "system": "Ges.",
+ "position": "2. Note
2. Note",
+ "comment": "Drecrescendogabel auf Rasur."
+ },
+ {
+ "measure": "48
bis 49",
+ "system": "Klav.",
+ "position": "2/4
2/4",
+ "comment": "Drecrescendogabel auf Rasur."
+ },
+ {
+ "measure": "50
bis 51",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "51",
+ "system": "",
+ "position": "2/4",
+ "comment": "tempo auf Rasur (ab Taktanfang)."
+ },
+ {
+ "measure": "51",
+ "system": "Klav. u.",
+ "position": "2/4",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "55",
+ "system": "Klav. o.",
+ "position": "vor 2/4",
+ "comment": "Rasur. Siehe M 321 Sk8 T. 19B vor 2/8: Vorschlagsnote e1."
+ },
+ {
+ "measure": "56",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Rasur über der Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "56",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[ff]')}} auf Rasur. Siehe M 321 Sk8 T. 19B 1. Note: {{ref.getGlyph('[f]')}}."
+ },
+ {
+ "measure": "57",
+ "system": "",
+ "position": "",
+ "comment": "Rasur über der Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "57",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasur. Siehe M 321 Sk8 T. 19B 2. TH."
+ },
+ {
+ "measure": "58
bis 60",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "61",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "wieder viel mäßiger auf Rasur (bis Ende T.63)."
+ },
+ {
+ "measure": "61
bis 63",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "62
bis 63",
+ "system": "Klav. u.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert. Staccatopunkte möglicherweise nach Rasur hinzugefügt."
+ },
+ {
+ "measure": "63
bis 64",
+ "system": "Klav. o.",
+ "position": "1/4
1/4",
+ "comment": "Bogen rasiert. Staccatopunkte möglicherweise nach Rasur hinzugefügt."
+ },
+ {
+ "measure": "65
bis 68",
+ "system": "Ges.",
+ "position": "2/4
1/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "67",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. - - - auf Rasur."
+ },
+ {
+ "measure": "67–68",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasur. Siehe M 321 Sk8 T. 23B."
+ },
+ {
+ "measure": "69",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Geltungsstrichelung auf Rasur (bis tempo)."
+ },
+ {
+ "measure": "69
bis 74",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "71
bis 73",
+ "system": "Klav.",
+ "position": "1/4",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "73",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. - - - auf Rasur (bis Taktende)."
+ },
+ {
+ "measure": "74
bis 75",
+ "system": "Klav.",
+ "position": "1/4
1/4",
+ "comment": "Bogen rasiert. Bogen T. 74 1–2/4 auf Rasur."
+ },
+ {
+ "measure": "75
bis 76",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "76",
+ "system": "Ges.",
+ "position": "",
+ "comment": "< > auf Rasur."
+ },
+ {
+ "measure": "76",
+ "system": "",
+ "position": "2/4",
+ "comment": "tempo I. [...] auf Rasur (ab Taktanfang)."
+ },
+ {
+ "measure": "nach 78",
+ "system": "",
+ "position": "",
+ "comment": "Bleistifteintragung 2’ nach dem Schlusstaktstrich radiert."
+ }
+ ]
+ }
+ ]
+ }
]
}
}
diff --git a/src/assets/data/edition/series/1/section/5/op3/intro.json b/src/assets/data/edition/series/1/section/5/op3/intro.json
index a65a92a39e..1d26375a80 100644
--- a/src/assets/data/edition/series/1/section/5/op3/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op3/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "op3",
- "content": []
+ "id": "op3+4"
}
]
-}
\ No newline at end of file
+}
diff --git a/src/assets/data/edition/series/1/section/5/op3/source-description.json b/src/assets/data/edition/series/1/section/5/op3/source-description.json
index de67fd948f..07cfe29789 100644
--- a/src/assets/data/edition/series/1/section/5/op3/source-description.json
+++ b/src/assets/data/edition/series/1/section/5/op3/source-description.json
@@ -144,6 +144,280 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Aa_corr1",
+ "label": "Korrekturen 1 in Aa (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "4
bis 5",
+ "system": "Klav. u.",
+ "position": "4/8
3/8",
+ "comment": "Legatobogen nach T. 4 6/8 rasiert."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "1.–3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5
bis 7",
+ "system": "Klav.",
+ "position": "4/8
(2/4)",
+ "comment": "Zuerst: auf Rasur. Ante correcturam teilweise zu entziffern: Klav. o. T. 5 4/8 bis T. 6 3/8 und T. 7 1/8 eine Oktave tiefer.
Dann T. 6 6/8: Akzidenzien rasiert und h2 korrigiert zu c3. (Entzifferung nicht eindeutig, mehrmals nachgezogen: möglicherweise bleibt h2?). Siehe TkA zu T 6 6/8."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: Kleinschreibung e[in] überschrieben zu E[in]."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: Kleinschreibung n[ur] überschrieben zu N[ur]."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "3/16",
+ "comment": "Notenkopf auf Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "3/4",
+ "comment": "Notenkopf von zu e und {{ref.getGlyph('[a]')}} auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Notenhals auf Rasur. Ante correcturam: Achtelfähnchen.
Text: Kleinschreibung m[öcht] überschrieben zu M[öcht]."
+ },
+ {
+ "measure": "11",
+ "system": "",
+ "position": "",
+ "comment": "Taktvorzeichnung auf Rasur, Schlusstaktstrich nach 1. Note rasiert."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Aa_corr2",
+ "label": "Korrekturen 2 in Aa (mit Bleistift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "Achtelnote E getilgt durch Einkreisung und ersetzt durch Achtelpause. Siehe Textfassung 2."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen über, unter und nach den Systemen.
System 9–13:
##Abbildung##
System 15–18:
##Abbildung##
Siehe Textfassung 2."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Fermate hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ab_corr1",
+ "label": "Korrekturen 1 in Ab (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Violinschlüssel überschreibt Bassschlüssel."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "5/16",
+ "comment": "f1 gestrichen und geändert zu a1."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "9.–12. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Text: Kleinschreibung n[ur] überschrieben zu N[ur]."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "4.–8. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "8.–9. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "Taktende",
+ "comment": "Taktstrich rasiert und weiter rechts neu gezogen."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "3. Note",
+ "comment": "{{ref.getGlyph('[b]')}}-Akzidenz auf Höhe zu as1 überschrieben auf Höhe zu b1."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "5–8/16",
+ "comment": "Fortsetzung des von T. 4 kommenden Legatobogens bis 8/16 rasiert und Ende versetzt zu 5/16, Bogen 5–8/16 hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3.–5. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "8.–10. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich Notenhälse und Balken über den Noten."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "4/16",
+ "comment": "{{ref.getGlyph('[b]')}} überschrieben zu {{ref.getGlyph('[a]')}}."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "17–20/23",
+ "comment": "Auf Rasur. Siehe TkA zu 19–20/32."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: Kleinschreibung n[un] überschrieben zu N[un]."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "9/16",
+ "comment": "{{ref.getGlyph('[a]')}} überschrieben zu {{ref.getGlyph('[b]')}}."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "7. Note",
+ "comment": "Text: Kleinschreibung u[m] überschrieben zu U[m]."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "7. Note",
+ "comment": "Text: tage, Endsilbe [-]ge gestrichen und zu 8. Note versetzt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "10/16",
+ "comment": "Sechzehntelpause gestrichen. Siehe TkA."
+ },
+ {
+ "measure": "10",
+ "system": "",
+ "position": "4/4",
+ "comment": "Auf Rasur. Ante correcturam: Schlusstaktstrich. Siehe TkA zu T. 10 Taktanfang."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ab_corr2",
+ "label": "Korrekturen 2 in Ab (mit Bleistift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "3–5",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Korrekturskizzen unter der Akkoalde (System 14–15):
##Abbildung##
Siehe Textfassung 2."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "5–11/16",
+ "comment": "Korrekturskizzen unter der Akkoalde (System 16–18):
##Abbildung##
Siehe Textfassung 2."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "9–16/16",
+ "comment": "Korrekturskizzen unter und nach der Akkoalde (System 4, 6):
##Abbildung##"
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "Es gestrichen und geändert zu G."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen unter der Akkoalde (System 14–18):
##Abbildung##
Siehe Textfassung 2."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -230,6 +504,46 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_B_corr",
+ "label": "Korrekturen in B",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu b2 nachgezogen. (Zunächst zu hoch [ces3] angesetzt.)"
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "10–12/16",
+ "comment": "Auf Tektur. Rechts neben Tektur in Klav. o. mit Bleistift zwei oben zusammengebalkte Sechzehntelnoten {{ref.getGlyph('[a]')}}c3–{{ref.getGlyph('[a]')}}d2/h2, radiert."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "1–4/16",
+ "comment": "Klav. u. 1–4/16 auf Rasur, Klav. o. (2/16) rasiert. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu f1 hinzugefügt mit Bleistift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -333,6 +647,298 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_C_corr",
+ "label": "Korrekturen in C",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 3."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Ganz wenig bewegt ({{ref.getGlyph('[Achtelnote]')}}) auf Rasur."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Teilweise auf Rasur."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich Achtelpause, Achtelnote d1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2–3/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten fis1–f1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich as1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "(1/4)",
+ "comment": "Rasur unter 1. Note. Ante correcturam: vermutlich Unterstimmenschicht Viertelnote b/e1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "Taktanfang bis 6/8",
+ "comment": "Fortsetzung des Legatobogens bis 6/8 (siehe Textfassung 2) rasiert."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "2–6/8",
+ "comment": "Fortsetzung des Legatobogens bis 6/8 (siehe Textfassung 2) rasiert."
+ },
+ {
+ "measure": "3",
+ "system": "Klav.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav.",
+ "position": "6/8
2/8",
+ "comment": "Crescendo-/Decrescendogabel hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav. u.",
+ "position": "6/8
6/8",
+ "comment": "Legatobogen rasiert und neu gesetzt in T. 3 6/8 bis T. 4 1/4 und T. 4 4–6/8."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: auf Rasur. Ante correcturam: vermutlich Großschreibung Von (siehe Textfassung 2)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "3. Note auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten g1–fis1 (siehe Textfassung 2). D. h. Augementationspunkt zu 2. Note vermutlich hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "",
+ "position": "4/8",
+ "comment": "Tempo auf Rasur. Weitere Rasur ohne neuen Text an entsprechender Position über Klav. o."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "5
bis 6",
+ "system": "Ges.",
+ "position": "4/8
1. Note",
+ "comment": "Crescendogabel hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten es2–cis2 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} und {{ref.getGlyph('[a]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "5/16",
+ "comment": "Rasur unter der Note. Ante correcturam: vermutlich {{ref.getGlyph('[ppp]')}} (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "5–11/16",
+ "comment": "Crescendo-/Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten gis1–h1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "11–12/16",
+ "comment": "Ein durchgehender Legatobogen T. 6 5/16 bis T. 7 12. Note (siehe Textfassung 2) teilweise rasiert und geändert; Ende des ersten Legatobogens zu 11/16 und Anfang des zweiten Legatobogens zu 12/16 gesetzt. Siehe auch Korrektur zu T. 7 6–7/32 und T. 7 10.–12. Note."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1.–4. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "",
+ "position": "3/16
1/8",
+ "comment": "rit. - - - hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift. rit. - - - auch über Klav. o. ab T. 7 1/8 zuerst mit Bleistift, dann radiert."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3/16–12/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich: wie Textfassung 2. Text: ein zu 3/16 (ante correcturam: vermutlich Großschreibung Ein) und (leicht-be-schwing-)tes zu 12/16 neu notiert."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "6–7/32",
+ "comment": "Ein durchgehender Legatobogen T. 6 5/16 bis T. 7 12. Note (siehe Textfassung 2) teilweise rasiert und geändert; Ende des zweiten Legatobogens zu 6/32 und Anfang des dritten Legatobogens zu 7/32 gesetzt. Siehe Korrektur zu T. 6 11–12/16 und T. 7 10.–12. Note."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "10.–12. Note",
+ "comment": "Ein durchgehender Legatobogen T. 6 5/16 bis T. 7 12. Note (siehe Textfassung 2) teilweise rasiert und geändert; Ende des dritten Legatobogens zu 10. Note gesetzt und Staccatopunkte zu 11.–12. Note hinzugefügt. Siehe Korrektur zu T. 6 11–12/16 und T. 7 6–7/32."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "11–12/16",
+ "comment": "Staccatopunkte auf Rasur. Ante correcturam: Legatobogen (siehe Textfassung 2).
Decrescendogabel auf Rasur hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "2/16",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "2/8",
+ "comment": "etwas langsamer | als tempo I. auf Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "3. Note auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten e1–es1 (siehe Textfassung 2). D. h. Augmentationspunkt zu 2. Note vermutlich hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "8
bis 10",
+ "system": "Klav.",
+ "position": "4/8
1/8",
+ "comment": "Auf Rasuren. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Achtelfähnchen geändert zu Balken.
Silbenbogen hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Text: auf Rasur. Ante correcturam: vermutlich Großschreibung Möcht (siehe Textfassung 2)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten g1–fis1 (siehe Textfassung 2) mit Silbenbogen."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "(1/4)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich Achtelpause, Achtelnote {{ref.getGlyph('[a]')}}f1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Text: auf Rasur. Ante correcturam: vermutlich rühr-te (siehe Textfassung 2)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Klav. u.",
+ "position": "2. Note
1/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -816,6 +1422,1066 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Ea_corr",
+ "label": "Korrekturen in Ea",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 4."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "etwas zögernd gestrichen mit grünem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} geändert zu {{ref.getGlyph('[pp]')}} mit grünem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "(2/4)",
+ "comment": "Triole aus Viertelnote, Achtelpause geändert zu Viertelnote; Bogen nach Viertelnote gestrichen mit rotem Buntstift.
< > hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "1
bis 2",
+ "system": "Ges.",
+ "position": "1. Note
5/8",
+ "comment": "Bogen hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[pp]')}} geändert zu {{ref.getGlyph('[ppp]')}} mit grünem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Wellenlinie über den Noten mit rotem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Wellenlinie über den Noten mit rotem Buntstift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} überschrieben zu {{ref.getGlyph('[p]')}} mit grünem Buntstift, dann {{ref.getGlyph('[p]')}} geändert zu [mp] mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Markierung der Viertel-Zählzeiten mit 1, 2, 3, 4 und Klammern (Zählzeiten 1–3) über dem System mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} überschrieben zu {{ref.getGlyph('[pp]')}} mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Decrescendogabel hinzugefügt, Legatobogen gestrichen mit rotem Buntstift."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "(1/16)",
+ "comment": "Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Achtelnote c1 sowie Etwas langsamer | als Tempo I. auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Teilweise auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Notenkopf eingekreist mit grünem Buntstift."
+ },
+ {
+ "measure": "10",
+ "system": "Ges., Klav. o.",
+ "position": "(4/8)",
+ "comment": "Markierungen zur korrekten Untersatz-Position von Ges. 4/8 im Verhältnis zu Klav. o. 2.–4. Note mit Bleistift und grünem Buntstift."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Eb_corr1",
+ "label": "Korrekturen 1 in Eb (mit Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Text: Anfang von nur nachgezogen."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5/8",
+ "comment": "Text: Komma hinzugefügt. Siehe TkA."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "6.–7. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1.–4. Note",
+ "comment": "Bogen bis 5/16 in Klav. u. rasiert und geändert bis zu 4. Note."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "6–12/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "Text: ein auf Rasur. Ante correcturam: vermutlich Großschreibung Ein (siehe Textfassung 1)."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich dis1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: nun auf Rasur. Ante correcturam: vermutlich Großschreibung Nun (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "2/2",
+ "comment": "Vermutlich Viertelpause zu 4/4 rasiert (siehe Textfassung 1) und Halbe Pause hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "vorletze Note",
+ "comment": "Text: um auf Rasur. Ante correcturam: vermutlich Großschreibung Um (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "6.–7. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Text: [a]-lle auf Rasur. Ante correcturam: vermutlich -lle bereits zu 5/8."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Text: in auf Rasur. Ante correcturam: vermutlich Großschreibung In (siehe Textfassung 1)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "5/16–6/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "10",
+ "system": "Ges, Klav. o.",
+ "position": "4/4",
+ "comment": "Viertelpause auf Rasur. Ante correcturam: Schlusstaktstrich nach 3/4."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Eb_corr2",
+ "label": "Korrekturen 2 in Eb (mit Bleistift und grünem Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Bewegt mit Bleistift."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Wellenlinie über den Noten mit grünem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu a mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3–5/8",
+ "comment": "Wellenlinie über den Noten mit grünem Buntstift."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "",
+ "position": "(5/8)
Taktanfang",
+ "comment": "rit.- - - langsamer gestrichen mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "8/16",
+ "comment": "Sechzehntelfähnchen hinzugefügt mit Bleistift. Siehe Korrekturen 1 1.–3. Note."
+ },
+ {
+ "measure": "5",
+ "system": "Klav.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Wellenlinie über den Noten mit grünem Buntstift."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "langsam gestrichen mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "(2/4)",
+ "comment": "Zuerst: rit zu (4/8) hinzugefügt mit grünem Buntstift.
Dann: rit gestrichen und Rit zu 3/8 hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "",
+ "position": "2/8
Taktanfang",
+ "comment": "acell. - - - tempo hinzugefügt zunächst mit Bleistift, dann mit schwarzer Tinte nachgezogen. (Siehe Textfassung 3.)"
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ec_corr1",
+ "label": "Korrekturen 1 in Ec (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „An Bachesranft“ M 135: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "",
+ "comment": "Leicht und zart auf Rasur."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav. o./u.",
+ "position": "1. Pause
bis letzte Note",
+ "comment": "Bögen gestrichen."
+ },
+ {
+ "measure": "vor 1
bis 3",
+ "system": "Ges.",
+ "position": "2/8
4. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "3
bis 5",
+ "system": "Ges.",
+ "position": "6/8
1/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "5
bis 7",
+ "system": "Ges.",
+ "position": "4/16
vorletzte Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "6
bis 10",
+ "system": "Klav. o.",
+ "position": "1/8
1/8",
+ "comment": "Bogen rasiert. Bögen T. 6 1/8 bis T. 7 3. Note sowie T. 7 4. Note bis T. 10 1/8 vermutlich hinzugefügt."
+ },
+ {
+ "measure": "8–12",
+ "system": "",
+ "position": "",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Text: Rasur nach bleicht."
+ },
+ {
+ "measure": "8
bis 11",
+ "system": "Ges.",
+ "position": "4/8
letzte Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "10
bis 12",
+ "system": "Klav.",
+ "position": "2. Note
2/4",
+ "comment": "Bogen gestrichen. Bogen in T. 10 2. Note bis 8/16 auf Rasur hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "A auf Rasur."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Ges.",
+ "position": "1/8
letzte Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "14",
+ "system": "Klav.",
+ "position": "1. Note
bis 2/4",
+ "comment": "Ligaturbögen auf Rasur."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ec_corr2",
+ "label": "Korrekturen 2 in Ec (mit Bleistift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „An Bachesranft“ M 135: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "1–3/8",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "3–7",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "Taktanfang",
+ "comment": "2/4-Taktvorzeichnung geändert zu 3/4. Siehe Textfassung 2."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "Achtelnote geändert zu punktierter Viertelnote. Siehe Textfassung 2."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "(2/4)",
+ "comment": "im Tempo hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "tempo hinzugefügt."
+ },
+ {
+ "measure": "8
bis 9",
+ "system": "",
+ "position": "Taktanfang
Taktende",
+ "comment": "Zuerst: rit. - - - hinzugefügt.
Dann: Position von rit. geändert zu T. 9 Taktanfang."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "8va hinzugefügt. Siehe Textfassung 2."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "NB-Formulierung gestrichen."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "3. Note",
+ "comment": "Tenutostrich hinzugefügt."
+ },
+ {
+ "measure": "14–15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ed_corr1",
+ "label": "Korrekturen 1 in Ed (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Zwei Achtelnoten geändert zu triolischer Viertelnote und Achtelnote. Siehe Textfassung2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "8/8",
+ "comment": "Achtelnote geändert zu Sechzehntelnote und zu (16/16) versetzt. Siehe auch Korrekturen 2 7/8."
+ },
+ {
+ "measure": "5
bis 6",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "Auf Rasur geändert zu rhythmischer Formulierung von Textfassung 2. Entzifferung ante correcturam unsicher: siehe TkA."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "5/16–24/32",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf Rasur geändert zu rhythmischer Formulierung von Textfassung 2. Entzifferung ante correcturam unsicher: siehe TkA zu 1–4/8."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1–2/4",
+ "comment": "Auf Rasur geändert zu rhythmischer Formulierung von Textfassung 2. Entzifferung ante correcturam unsicher: siehe TkA."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "Fortführung des Bogens nach T. 8 geändert zu Ende des Bogens in T. 7 letzte Note. Siehe Textfassung 2."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3–6/8",
+ "comment": "Teilweise auf Rasur geändert zu rhythmischer Formulierung von Textfassung 2."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Zwei Achtelnoten geändert zu triolischer Viertelnote und Achtelnote. Siehe Textfassung2."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ed_corr2",
+ "label": "Korrekturen 2 in Ed (mit türkisem Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Zäsurzeichen zwischen den Noten hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "2.–4. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "6/8 bis letzte Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "7/8",
+ "comment": "Achtelnote geändert zu punktierter Achtelnote. Siehe auch Korrekturen 1 8/8."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges., Klav.",
+ "position": "(3/8)",
+ "comment": "Fermate hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2., 3. Note",
+ "comment": "Pfeile zu Klav. u. zur Bestimmung des korrekten Untersatzes."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "sehr ruhig (siehe Textfassung 1) gestrichen und geändert zu langsamer als zu Beginn."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "12/16–7/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "",
+ "position": "Taktanfang
Taktende",
+ "comment": "Rit[.] - - - hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "dis1 zu gis1 hinzugefügt. (Notiert in Klav. o.)"
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8–5/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "5. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu b1 hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "8/8",
+ "comment": "wie ein Hauch (siehe T. 10 1/8) bereits hier hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ee_corr1",
+ "label": "Korrekturen 1 in Ee (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "4–5/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich 3–5/8 wie Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich 2/4–5/8 wie Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich 3–5/8 wie Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Text: Großschreibung Im geändert zu Kleinschreibung im."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: Großschreibung Sein geändert zu Kleinschreibung sein."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: Großschreibung Laß überschrieben zu Kleinschreibung laß."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: Großschreibung Vor geändert zu Kleinschreibung vor."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[sf]')}} gestrichen."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Zwei Achtelnoten geändert zu triolischer Viertelnote und Achtelnote."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "Text: Großschreibung Mit geändert zu Kleinschreibung mit."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: Großschreibung Noch geändert zu Kleinschreibung noch."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "4/8, 3/4",
+ "comment": "Auf Rasur. (Vermutlich Untersatz-Korrektur.)"
+ },
+ {
+ "measure": "13–15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Teilweise auf Rasur. Ante correcturam: vermutlich wie Textfassung 1. Siehe auch Korrekturen 3 T. 14 Klav. u."
+ },
+ {
+ "measure": "16
bis [17]",
+ "system": "",
+ "position": "",
+ "comment": "Zusätzlicher Takt [17] (wie Textfassung 1) gestrichen und Schlusstaktstrich nach T. 16 hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ee_corr2",
+ "label": "Korrekturen 2 in Ee (mit türkisem Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "1.–2. Note",
+ "comment": "Bogen gestrichen."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Oberstimmenschicht: Bogen gestrichen."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "3–5/8",
+ "comment": "Unterstimmenschicht. Bogen gestrichen."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Viertelnote geändert zu Achtelnote, Achtelpause."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "3. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "4.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[mf]')}} hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "3–6/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "Tenutostrich hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "13",
+ "system": "Ges-",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ee_corr3",
+ "label": "Korrekturen 3 in Ee (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "5/8",
+ "comment": "fis1 geändert zu ges1."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Zwei Achtelnoten geändert zu punktierter Achtelnote, Sechzehntelnote. Siehe Korrekturen in G."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Zwei Achtelnoten geändert zu punktierter Achtelnote, Sechzehntelnote. Siehe Korrekturen in G."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Zwei Achtelnoten geändert zu triolischer Viertelnote und Achtelnote. {{ref.getGlyph('[a]')}} zu g1 hinzugefügt. Siehe Korrekturen in G."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Ausrufezeichen nach [he-]ben hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Kleinschreibung gunst überschrieben zu Großschreibung Gunst."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "Notenkopf und Akzidens rasiert."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1051,6 +2717,1200 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Fa_corr1",
+ "label": "Korrekturen 1 in Fa (mit schwarzer Tinte, Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 3."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Ganz wenig bewegt ({{ref.getGlyph('[Achtelnote]')}}) hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "2/8–2/4",
+ "comment": "Ped. und [Pedal-Aufhebung] hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Auf Rasur. Ante correcturam vermutlich: Achtelpause, Achtelnote d1 (wie Textfassung 2). Text: Dies neu zu 2/4 notiert (Hs. Webern)."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2–3/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten fis1–f1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "1. bis letzte Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "Rasur. Ante correcturam: vermutlich Viertelnote b/e1 als Unterstimmenschicht in Klav. o. (siehe Textfassung 2)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "Taktanfang bis 6/8",
+ "comment": "Fortsetzung des Legatobogens (wie Textfassung 2) rasiert."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "2–6/8",
+ "comment": "Fortsetzung des Legatobogens (wie Textfassung 2) rasiert."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Klav.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav.",
+ "position": "6/8
2/8",
+ "comment": "Crescendo-/Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav. u.",
+ "position": "6/8
6/8",
+ "comment": "Legatobogen rasiert. Bogen T. 4 4–6/8 auf Rasur."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten g1–fis1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "4",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "zögernd hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "",
+ "position": "4/8",
+ "comment": "Tempo über Ges. und Klav. o. hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten es2–cis2 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} und {{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1/8–5/16",
+ "comment": "Ped. und [Pedal-Aufhebung] hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten gis1–h1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1.–4. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3/16–12/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2. Text: Ein zu 3/16 und (leicht-be-schwing-)tes zu 12/16 neu notiert."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "",
+ "position": "3/16
1/8",
+ "comment": "rit. - - - hinzugefügt über Ges. und Klav. o."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "2/8",
+ "comment": "etwas langsamer | als tempo I. hinzugefügt über Klav. o."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten e1–es1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "8
bis 10",
+ "system": "Klav.",
+ "position": "4/8
1/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Achtelfähnchen bei 5/8 überschrieben mit Balken zu 6/8.
Silbenbogen hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten g1–fis1 (siehe Textfassung 2). Silbenbogen hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "(1/4)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich Achtelpause, Achtelnote {{ref.getGlyph('[a]')}}f1 (siehe Textfassung 2). {{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "10
bis 12",
+ "system": "",
+ "position": "(2/8)
1/4",
+ "comment": "rit. - - - über ges. und Klav. o. hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Klav. u.",
+ "position": "2. Note
1/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Klav.",
+ "position": "2. Note
2/4",
+ "comment": "Ped. und [Pedal-Aufhebung] hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: auf Rasur. Ante correcturam: vermutlich [rühr(-)]te (siehe Textfassung 2)."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Fa_corr2",
+ "label": "Korrekturen 2 in Fa (Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 3."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "etwas zögernd hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Geändert zu Triole aus Viertelnote d1 und Achtelpause mit Bogen (siehe Textfassung 4) mit grünem Buntstift.
Siehe TkA zu Textfassung 4."
+ },
+ {
+ "measure": "2",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Tempo mit rotem Buntstift."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Tenutostrich zu 5. Note, Staccatopunkt zu 6. Note, Bogen 5.–6. Note mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "",
+ "comment": "4/4-Taktvorzeichnung am Taktanfang hinzugefügt bei Klav. o. mit Bleistift und zwischen den Klav.-Systemen mit grünem Buntstift. Am Taktende mit grünem Buntstift und Bleistift Hinzufügung (4/4):
##Abbildung##
Siehe Textfassung 4."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "(1/8)",
+ "comment": "Zuerst: Sechzehntelpause hinzugefügt mit Bleistift.
Dann: Sechzehntelpause gestrichen und Achtelpause mit Fermate hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1–2/16",
+ "comment": "Sechzehntelpause bei 1/16 gestrichen, Ligaturbögen zu 2/16 von T. 7 und Sechzehntelpause mit Fermate hinzugefügt mit Bleistift. Siehe Textfassung 4."
+ },
+ {
+ "measure": "8",
+ "system": "Ges., Klav. o.",
+ "position": "nach (1/8)",
+ "comment": "Zäsurzeichen gestrichen mit Bleistift."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Klav. u.",
+ "position": "3/4
1/8",
+ "comment": "Ligaturbögen in T. 9 3/4 gestrichen sowie Achtelpause und Triolenzeichen hinzugefügt mit Bleistift; Achtelnoten in T. 10 1/8 gestrichen mit Bleistift. Siehe Textfassung 4."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Klav. u.",
+ "position": "3/4
1/4",
+ "comment": "Unterstimmenschicht: Ligatur zwei Viertelnoten Fis1 gestrichen mit grünem Buntstift. Siehe Textfassung 4."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Fb_corr1",
+ "label": "Korrekturen 1 in Fb (mit schwarzer Tinte ggf. auf Rasur, Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 2. Abweichungen der Grundschicht von Fb zu dieser Textfassung sind mit dem Vermerk „sic“ gekennzeichnet."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "2–8/16",
+ "comment": "sic: ein Bogen."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Text sic: Großschreibung Nur (siehe Textfassung 1)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2/8–8/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich drei Achtelnoten fis1–dis2–ais1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Text sic: Großschreibung Was (siehe Textfassung 1)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "4/16",
+ "comment": "sic: {{ref.getGlyph('[a]')}}c1."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten d1–cis1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Text sic: Großschreibung Nacht."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Text sic: Ein (siehe Textfassung 1)."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich dis1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Text sic: Großschreibung Mai. Komma fehlt (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text sic: Großschreibung Nun (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text sic: Großschreibung Um (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Text sic: Großschreibung Aug."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "1.–5. Note",
+ "comment": "sic: Bogen. Siehe Korrekturen 2 in Fb."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "Text sic: Großschreibung Haar."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Text sic: Großschreibung In (siehe Textfassung 1)."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Fb_corr2",
+ "label": "Korrekturen 2 in Fb (Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Sehr bewegt hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2–4/16",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "4–5/16",
+ "comment": "Vertikaler Gliederungstrich hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "7–10/16",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "8–9/16",
+ "comment": "Vertikaler Gliederungstrich hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} geändert zu {{ref.getGlyph('[ppp]')}} mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "1
bis 3",
+ "system": "Ges.",
+ "position": "6/8
5/8",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "2–4/16",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Wellenline über den Noten zunächst hinzugefügt, dann gestrichen mit rotem Buntstift."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "5–7/16",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "10.–15. Note",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "3
bis 5",
+ "system": "Klav. o.",
+ "position": "1/8
3. Note",
+ "comment": "Bogen überschrieben zu Verlängerung des Bogens bis T. 2 letzte Note zu T. 3 1/8 sowie zu Bogen in T. 3 2.–6. Note, T. 3 7. Note bis T. 4 5. Note und T. 4 6. Note bis T. 5 3. Note mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "2.–5. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}}, Crescendogabel bis 3. Note und Decrescendogabel ab 4. Note hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3–5/8",
+ "comment": "Decrescendogabel gestrichen mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "7. Note bis Taktende",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "nicht zurückhalten hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "5.–8. Note",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift (überschreibt Crescendogabel 1.–3. Note)."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "3. Note",
+ "comment": "espr. hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "4.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Ges.",
+ "position": "letzte Note
4. Note",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Vermutlich zunächst Crescendogabel hinzugefügt mit schwarzer Tinte, dann Gabel gestrichen mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "2/16, 4/16",
+ "comment": "Staccatopunkte hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Vermutlich zunächst Decrescendogabel hinzugefügt mit schwarzer Tinte, dann Wellenline auf Gabel hinzugefügt (als Streichung?) mit rotem Buntstift."
+ },
+ {
+ "measure": "5
bis 6",
+ "system": "",
+ "position": "5/16
Taktende",
+ "comment": "rit[.] - - - zunächst hinzugefügt über Ges. mit Bleistift und rotem Buntstift sowie über Klav. o. mit schwarzer Tinte, dann über Klav. o. bis vor T. 6 5/8 gestrichen mit schwarzer Tinte. Siehe Korrektur in T. 6 5/8 bis Taktende."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "5/16",
+ "comment": "Sechzehntelnote b1 überschrieben zu Sechzehntelpause mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "5–8/16",
+ "comment": "{{ref.getGlyph('[p]')}}, Decrescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3. Note",
+ "comment": "Tenutostrich hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3. Note–4. Pause",
+ "comment": "Augmentationspunkt zu gis hinzugefügt und Zweiunddreißigstelpause gestrichen mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "8. Note",
+ "comment": "{{ref.getGlyph('[b]')}} hinzugefügt mit schwarzer Tinte. Siehe Korrektur zu 5/16."
+ },
+ {
+ "measure": "5",
+ "system": "Klav.",
+ "position": "(3/4)",
+ "comment": "{{ref.getGlyph('[pp]')}}, Decrescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Staccatopunkte hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1–4/16",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Klav. o.",
+ "position": "4/16
6/8",
+ "comment": "Bogen in T. 5 gestrichen, in T. 6 überschrieben mit Bogen zu 2–4/8 und Tenutostriche zu 5–6/8 (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Triole aus Achtelnote gis1 (mit Tenutostrich), Achtelpause, Achtelnote g1 (siehe Textfassung 3) teilweise auf Rasur. Ante correcturam: vermutlich zunächst zwei Achtelnoten gis1–g1 (siehe Textfassung 1), dann Triole aus Viertelnote gis1 und Achtelnote g1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "3/8
bis Taktende",
+ "comment": "rit[.] [eingerahmt] und Wellenlinie hinzugefügt über Ges. mit rotem Buntstift (überschreibt Korrektur in T. 5 5/8 bis Taktende). rit. in T. 6 5/8 aus Korrektur in T. 5 5/8 bis Taktende eingerahmt mit rotem Bunstift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "4/8 bis letzte Note",
+ "comment": "Crescendogabel bis vorletzte Note, Decrescendogabel bis letzte Note überschreibt Crescendogabel bis vorletzte Note mit grünem Buntstift (siehe Textfassung 3 3/8 bis letzte Note)."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Ges.",
+ "position": "4. Note
1/8",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "5/8 bis Taktende",
+ "comment": "rit. - - - (siehe Textfassung 3) hinzugefügt über Ges. und Klav. o. mit schwarzer Tinte (überschreibt dort Geltungsstrichelung von Korrektur in T. 5 5/16 bis T. 6 Taktende). Siehe Korrektur in T. 6 3/8 bis Taktende."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "",
+ "position": "Taktanfang
Taktanfang",
+ "comment": "accell. - - - tempo I. hinzugefügt über Ges. sowie in T. 6 1–2/8 - - - accell. hinzugefügt überKlav. o. mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "2–6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} zu 2/8, Crescendogabel 2–4/8, Decrescendogabel 4–6/8 hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "4/16",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Klav. u.",
+ "position": "4/16
4/16",
+ "comment": "Bogen geändert zu zwei Bögen in T. 7 4–12/16 und T. 8 1–4/16 (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "5–8/16",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Ges.",
+ "position": "4/8
1/4",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "9–12/16",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[p]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "1.–5. Note",
+ "comment": "{{ref.getGlyph('[p]')}} (siehe Textfassung 3), Crescendogabel 1.–3. Note, Decrescendogabel 3.–5. Note hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1/16",
+ "comment": "Sechzehntelpause (siehe Textfassung 3) auf Rasur. Ante correcturam: Achtelnote a."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "2/16",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2.–5. Note",
+ "comment": "Zunächst {{ref.getGlyph('[mp]')}}, Crescendogabel 2.–3. Note, Decrescendogabel 4.–5. Note hinzugefügt, dann {{ref.getGlyph('[mp]')}} geändert zu {{ref.getGlyph('[p]')}} mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "11/16",
+ "comment": "{{ref.getGlyph('[p]')}} hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "6. Note",
+ "comment": "Triolische Achtelpause (wie Textfassung 3) auf Rasur. Ante correcturam vermutlich Achtelnote f1."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "7.–8. Note",
+ "comment": "{{ref.getGlyph('[mp]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8
bis 9",
+ "system": "Ges.",
+ "position": "8. Note
3/8",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1–3/8",
+ "comment": "{{ref.getGlyph('[p]')}}, Crescenodgabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "1.–2. Note",
+ "comment": "{{ref.getGlyph('[mf]')}}, Decrescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "1.–5. Note",
+ "comment": "Bogen gestrichen mit schwarzer Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "1.–4. Note",
+ "comment": "{{ref.getGlyph('[p]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "4.–7. Note",
+ "comment": "{{ref.getGlyph('[p]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[f]')}} hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4.–8. Note",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "13/16",
+ "comment": "Sechzehntelnote cis2/cis3 überschrieben zu Sechzehntelpause mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "14/16",
+ "comment": "{{ref.getGlyph('[f]')}} hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "gis1 (siehe Textfassung 3) auf Rasur. Ante correcturam: vermutlich as1."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Ges.",
+ "position": "letzte Note
6/8",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "{{ref.getGlyph('[ff]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "3/16",
+ "comment": "{{ref.getGlyph('[f]')}} hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "5/16–20/32",
+ "comment": "{{ref.getGlyph('[ff]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "5/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "7/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Tenutostriche hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "17–20/32",
+ "comment": "Bogen überschrieben mit Bogen zu 5/16–20/32 (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "19/32",
+ "comment": "{{ref.getGlyph('[b]')}} hinzugefügt mit Bleistift."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Fc_corr",
+ "label": "Korrekturen in Fc (mit Bleistift, Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1 und {{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "2
bis 4",
+ "system": "Ges.",
+ "position": "1/4
2/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1 und {{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu cis1 und {{ref.getGlyph('[a]')}} zu e1 hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1 und {{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu e2 hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "4
bis 6",
+ "system": "Ges.",
+ "position": "4/8
6/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu h hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu b hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu b hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2–5/8",
+ "comment": "Crescendogabel (zusätzlich zu Gabel 2–4/8) hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} e rasiert."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu a hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu e1 hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "Auf Rasur. Ante correcturam: e2/a2/cis2?"
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu f2 hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c2/e2/c3 hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu cis1 hinzugefügt."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Ges.",
+ "position": "4/8
2/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu cis3 hinzugefügt."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Ges.",
+ "position": "6/8
2/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c3 und {{ref.getGlyph('[b]')}} zu es3 hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "ruhig hinzugefügt."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Ges.",
+ "position": "4/8
6/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu es hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Achtelfähnchen überschrieben zu Balken."
+ },
+ {
+ "measure": "11",
+ "system": "",
+ "position": "2/8",
+ "comment": "rit. hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2–6/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu h hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Derescendogabel hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen und Decrescendogabel hinzugefügt."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1295,6 +4155,414 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Gb_corr",
+ "label": "Korrekturen in Gb (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 3."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Langsam und, und gestrichen."
+ },
+ {
+ "measure": "1–3",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasuren. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Viertelnote (siehe Textfassung 2) geändert zu Achtelnote, Achtelpause."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "1.–2., 5.–6. Note",
+ "comment": "Zwei Achtelnoten (siehe Textfassung 2) geändert zu punktierte Achtelnote, Sechzehntelnote."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Auf Rasuren. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich dis1–e1–gis1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Auf Rasur. Ante correcturam: zwei Achtelnoten (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich cis2 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: zwei Achtelnoten (siehe Textfassung 2)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasuren. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: zwei Achtelnoten (siehe Textfassung 2)."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "Rasur. Ante correcturam: vermutlich f1/a1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "Rasur. Ante correcturam: vermutlich e1/a1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "4. Note",
+ "comment": "Unterstimmenschicht auf Rasur. Ante correcturam: vermutlich Viertelnote, Achtelnote d (siehe Textfassung 2)."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Klav. u.",
+ "position": "4. Note
1/4",
+ "comment": "Bogen rasiert (siehe Textfassung 2)."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Gc_corr",
+ "label": "Korrekturen in Gc",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 2. Abweichungen der Grundschicht von Gc zu dieser Textfassung sind mit dem Vermerk „sic“ gekennzeichnet."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Zart bewegt hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav. o.",
+ "position": "1.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Ped[.] - - - [Pedal-Aufhebung] hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "1–4/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu f hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[#]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "Text: trittst auf Rasur. Ante correcturam: vermutlich Großschreibung."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "(2–4/4)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Text: mit auf Rasur. Ante correcturam: vermutlich Großschreibung."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "7.–8. Note",
+ "comment": "Zwei Achtelnoten (siehe Textfassung 1) geändert zu punktierter Achtelnote, Sechzehntelnote."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "7–8/8",
+ "comment": "Ped[.] - - - hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "(1/4)",
+ "comment": "sic: zwei Achtelnoten es1/ges1–d1/f1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "äußerst zart hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Fermatenzeichen und quasi fermata hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "(3/4)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1–4/8",
+ "comment": "Tenutostriche hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "3/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Klav.",
+ "position": "5/16
2/8",
+ "comment": "Ped[.] - - - hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "8/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} korrigiert zu {{ref.getGlyph('[ppp]')}} mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "13/32–6/8",
+ "comment": "Auf Tektur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "19/32",
+ "comment": "{{ref.getGlyph('[a]')}} zu d2 mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "10/16–24/32",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "2/4",
+ "comment": "rit[.] hinzugefügt mit Bleistift, Geltungsstrichelung mit schwarzer Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "letzte Note",
+ "comment": "Pedal-Aufhebung gestrichen mit Bleistift."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "sehr ruhig gestrichen mit schwarzer Tinte.
sehr ruhig hinzugefügt mit Bleistift, gestrichen mit Bleistift.
Langsamer | als zu Beginn hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1/8 bis 1. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} zu g1 hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "2/8–5/8",
+ "comment": "sic: Bogen bis 7/8. Bogen gestrichen und geändert zu Bogen von 2–4/8 mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3.–6. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "5. Note bis 7/8",
+ "comment": "Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "5. Note",
+ "comment": "Staccatopunkt hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "6. Note",
+ "comment": "Tenutostrich hinzugefügt mit roter Tinte.
{{ref.getGlyph('[a]')}} zu f2 nachgezogen mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "nach 6/8",
+ "comment": "Bassschlüssel hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "(1/2)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "gis neben dem Notenkopf hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu h hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Zwei Achtelnoten (siehe Textfassung 1) geändert zu punktierter Achtelnote, Sechzehntelnote."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift, nachgezogen mit schwarzer Tinte."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1378,6 +4646,198 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_H_corr1",
+ "label": "Korrekturen 1 in H (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „An Bachesranft“ M 135: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "5/16",
+ "comment": "Auf Rasur. Ante correcturam: gis2 in Klav. o.; Klav. u. möglicherweise Viertelpause."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "(Redundante) Taktvorzeichnung 3/4 (siehe Textfassung 1) gestrichen."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich es1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "ais auf Rasur. Ante correcturam: vermutlich b (siehe Textfassung 1)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o",
+ "position": "2. Note bis 4/8",
+ "comment": "Unterstimmenschicht: Bogen von cis1 zu es1 rasiert."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "ais und Tenutostrich auf Rasur. Ante correcturam: vermutlich b (siehe Textfassung 1)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "3. Note",
+ "comment": "8va-Linie bis zwischen 3–4/8 nach 3. Note gestrichen."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "dis1 mit Tenutostrich auf Rasur. Siehe Korrekturen 2."
+ },
+ {
+ "measure": "12",
+ "system": "",
+ "position": "2. TH",
+ "comment": "Geltungsstrichelung von Rit. auf Rasur."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_H_corr2",
+ "label": "Korrekturen 2 in H (mit Bleistift und Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „An Bachesranft“ M 135: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "",
+ "comment": "Metronomzahl 90 hinzugefügt mit grünem Buntstift (Hs. ?)."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Vertikaler Strich zu Klav. hinzugefügt mit grünem Buntstift (zur Verdeutlichung des Untersatzes) (Hs. ?)."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Vertikaler Strich zu Klav. hinzugefügt mit grünem Buntstift (zur Verdeutlichung des Untersatzes) (Hs. ?)."
+ },
+ {
+ "measure": "4",
+ "system": "Klav.",
+ "position": "1/16",
+ "comment": "Tempo über Klav. o. eingekreist mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "(Zusätzliche) Decresendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Crescendogabel 2. Note bis Taktende gestrichen mit rotem Buntstift und geändert zu Crescendogabel 2/4 bis Taktende."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Zählzeiten 1 und 2 mit verdeutlichenden Klammern über dem System hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "Vertikaler Strich zu Klav. o. hinzugefügt mit grünem Buntstift (zur Verdeutlichung des Untersatzes) (Hs. ?)."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Tenutostrich hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} geändert zu {{ref.getGlyph('[pp]')}} mit rotem Buntstift."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Ges.",
+ "position": "2/8
1/4",
+ "comment": "Decrescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "fis1 geändert zu ges1 mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "gis1 geändert zu as1 mit Bleistift."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "dis1 überschrieben zu es1 mit Bleistift. Siehe Textfassung 3."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "Staccato-Punkt hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "nach 3/8",
+ "comment": "Zäsurzeichen hinzugefügt mit grünem Buntstift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1475,6 +4935,198 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_I_corr1",
+ "label": "Korrekturen 1 in I (mit schwarzer Tinte [Text: rote Tinte] ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Text: Großschreibung Kir-(schen[-]flor) überschrieben zu kir-(schen[-]flor) mit roter Tinte."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "5–6/8",
+ "comment": "Auf Rasur. Ante correcruram: vermutlich cis–Cis (siehe Textfassung 1)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1.–3. Note",
+ "comment": "Oberstimmenschicht: Auf Rasur. Ante correcruram: vermutlich zwei Achtelnoten es1/ges1–d/f (siehe Textfassung 1)"
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "6.–9. Note",
+ "comment": "Decrescendogabel nachgezogen."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Fließend über Ges. auf Rasur. (Über Klav.: ohne Rasur. Siehe TkA zu T. 6 bis 7.)"
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "4.–5. Note",
+ "comment": "Bogen auf Rasur. Ante correcturam: Staccatopunkte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "ges1 auf Rasur. Ante correcturam: vermutlich fis1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich H/gis (siehe Textfassung 1)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} geändert zu {{ref.getGlyph('[pp]')}}."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "5/8",
+ "comment": "Auf Rasur."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_I_corr2",
+ "label": "Korrekturen 2 in I (mit Bleistift und Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Pedal-Aufhebung hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "vor 1
bis 1",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Crescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2.–4. Note",
+ "comment": "Decrescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Crescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "Decrescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "nach 2. Note",
+ "comment": "Vertikaler Strich hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "nach 5. Note",
+ "comment": "Vertikaler Strich hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} überschrieben zu {{ref.getGlyph('[b]')}} mit grünem Buntstift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "nach 1/4",
+ "comment": "Zäsurzeichen hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "Strich zu Klav. hinzugefügt mit rotem Buntstift (zur Verdeutlichung des Untersatzes)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "8. Note",
+ "comment": "Strich zu Klav. u. hinzugefügt mit Bleistift (zur Verdeutlichung des Untersatzes)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "8. Note",
+ "comment": "rechte Hand hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Strich zu Klav. hinzugefügt mit rotem Buntstift (zur Verdeutlichung des Untersatzes)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "8. Note",
+ "comment": "l. H. hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "6/16",
+ "comment": "Pedal-Aufhebung hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "5/8",
+ "comment": "Fermatenzeichen hinzugefügt mit Bleistift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1558,6 +5210,40 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_J_corr",
+ "label": "Korrekturen in J",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 4."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "+ über dem System hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} geändert zu {{ref.getGlyph('[p]')}} mit rotem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "5. Note bis Taktende",
+ "comment": "Decrescendogabel hinzugefügt mit rotem Buntstift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
diff --git a/src/assets/data/edition/series/1/section/5/op4/intro.json b/src/assets/data/edition/series/1/section/5/op4/intro.json
index 9153e55e36..1d26375a80 100644
--- a/src/assets/data/edition/series/1/section/5/op4/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op4/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "op4",
- "content": []
+ "id": "op3+4"
}
]
-}
\ No newline at end of file
+}
diff --git a/src/assets/data/edition/series/1/section/5/op4/source-description.json b/src/assets/data/edition/series/1/section/5/op4/source-description.json
index 37be3fe4ba..53250acdc3 100644
--- a/src/assets/data/edition/series/1/section/5/op4/source-description.json
+++ b/src/assets/data/edition/series/1/section/5/op4/source-description.json
@@ -163,6 +163,376 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_A_corr",
+ "label": "Korrekturen in A",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf Eingang („Welt der Gestalten“) M 138: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1–16",
+ "system": "",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren mit schwarzer und teilweise roter Tinte. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "1",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "5/4",
+ "comment": "Unterstimmenschicht: Viertelpause hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "2",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "5. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "7. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu g1/h1 hinzugefügt mit Bleistift, nachgezogen mit roter Tinte."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "14/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu d überschreibt {{ref.getGlyph('[b]')}}."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1/e1 hinzugefügt mit Bleistift, nachgezogen mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu d1 hinzugefügt mit Bleistift, nachgezogen mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1.–4. Note",
+ "comment": "Unterstimmenschicht: Ligaturbogen zu fis (siehe Textfassung 1) gestrichen mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "1. Pause",
+ "comment": "Unterstimmenschicht: Halbe Pause hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "11/8",
+ "comment": "Achtelpause nachgezogen mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "12/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "7/8, 8/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1., 2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "4–7/4",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "8/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "vorletzte bis letzte Note",
+ "comment": "Bogenanfang zu Bogen bis T. 7 3. Note (siehe Textfassung 1) gestrichen und Staccatopunkte hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Klav. u.",
+ "position": "27/16
4/16",
+ "comment": "Bogen (siehe Textfassung1) gestrichen und geändert zu zwei Bögen T. 6 27–28/16, T. 7 1–2/16 sowie Staccatopunkte zu T. 7 34/16 mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "8.–11. Note",
+ "comment": "Bogen (siehe Textfassung 1) gestrichen sowie Staccatopunkt zu 9. Note und Bogen 10.–11. Note hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "2. Pause",
+ "comment": "Ligatur von 6/8 und Achteltriole e/g (siehe Textfassung 1) gestrichen und geändert zu Achteltriolenpause mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "14–17/16",
+ "comment": "Bogen gestrichen und geändert zu Staccatopunkten mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "18–23/16",
+ "comment": "Bogen (siehe Textfassung 1) gestrichen und geändert zu Bogen 18–20/16 und Staccatopunkten zu 21–23/16 mit roter Tinte."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Klav.",
+ "position": "24/16
1/8",
+ "comment": "Bogen (siehe Textfassung 1) geändert zu zwei Bögen T. 7 24–26/16 und T. 7 27/16 bis T. 8 1/8."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Zuerst: etwas breiter (siehe Textfassung 1) hinzugefügt mit Bleistift.
Dann: gestrichen und geändert zu noch langsamer mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "3/8",
+ "comment": "Zuerst: Pedal-Aufhebung zu 1/8.
Dann: gestrichen und versetzt zu 2/8 mit roter Tinte.
Dann: gestrichen und versetzt zu 3/8 mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} gestrichen mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "Ped. hinzugefügt mit roter Tinte. (Siehe Korrektur zu 9/8.)"
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "9/8",
+ "comment": "Pedal-Aufhebung hinzugefügt mit roter Tinte. (Siehe Korrektur zu 4/8.)"
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu g hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "",
+ "position": "4/4",
+ "comment": "wie zu Anfang unterstrichen mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "8/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu D1 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "10/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "vorletzte Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[b]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "8. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2. Note, 5/8, 6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "",
+ "position": "6/4 bis Taktende",
+ "comment": "rit - - - gestrichen mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12, 13",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Klav. o.",
+ "position": "4. Note
1. Note",
+ "comment": "Unterstimmenschicht: Ligaturbogen zu fis hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "vorletzte Note",
+ "comment": "Oberstimmenschicht: {{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14–15",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Punktierte Ganze Pause, Viertelpause (T. 14), Halbe Pause, punktierte Halbe Pause, Halbe Pause (T. 15) (siehe Textfassung 1) nach Hinzufügung der gestrichelten Teiltaktstriche (siehe Korrekturen T. 14 nach 3/4, T. 15 nach 4/4) zu Ganze Pause nach Teiltaktstrich in T. 14 und Streichung der letzten Pause in T. 15 (sic: siehe TkA) mit rotem Buntstift."
+ },
+ {
+ "measure": "14",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Klav. o. Oberstimmenschicht 2. Note: Viertelnote {{ref.getGlyph('[a]')}}f1 mit Ligatur zu 3. Note hinzugefügt mit roter Tinte. Klav. o. Unterstimmenschicht und Klav. u.: Punktierung zu 1. Note hinzugefügt und Punktierung zu 2. Note (siehe Textfassung 1) gestrichen mit roter Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -510,6 +880,518 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Ba_corr1",
+ "label": "Korrekturen 1 in Ba (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „Noch zwingt mich Treue“ M 139: Textfassung 2."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1
bis 2",
+ "system": "Ges.",
+ "position": "1. Note
2/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "10/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "2–3",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "2
bis 5",
+ "system": "Ges.",
+ "position": "1. Note
2/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "5",
+ "system": "Klav.",
+ "position": "(2/4)",
+ "comment": "{{ref.getGlyph('[sf]')}} auf Rasur. Ante correcturam: vermutlich {{ref.getGlyph('[sfz]')}} (siehe Textfassung 1)."
+ },
+ {
+ "measure": "5
bis 7",
+ "system": "Ges.",
+ "position": "6/8
2. Note",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "7
bis 9",
+ "system": "Ges.",
+ "position": "6/16
4/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[b]')}} überschreibt {{ref.getGlyph('[a]')}}."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "letzte Pause",
+ "comment": "Triolische Viertelpause überschreibt Achtelpause (siehe Textfassung 1)."
+ },
+ {
+ "measure": "10
bis 12",
+ "system": "Ges.",
+ "position": "6/8
6/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "2/8–5/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "13",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "13
bis 15",
+ "system": "Ges.",
+ "position": "1. Note
4/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "15",
+ "system": "Klav. o.",
+ "position": "3/8–6/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "15
bis 17",
+ "system": "Ges.",
+ "position": "3. Note
3. Note",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "16
bis 18",
+ "system": "Klav. u.",
+ "position": "vorletzte Note
1/4",
+ "comment": "Bogen (siehe Textfassung 1) teilweise rasiert und geändert zu zwei Bögen T. 16 vorletzte Note bis T. 17 2/8 sowie T. 17 3/8 bis T. 18 1/4."
+ },
+ {
+ "measure": "17",
+ "system": "Klav.",
+ "position": "4/16–(7/16)",
+ "comment": "Punktierte Achtelpause in Klav. o. und Achtelpause in Klav. u. auf Rasur."
+ },
+ {
+ "measure": "17
bis 18",
+ "system": "Ges.",
+ "position": "4. Note
5. Note",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ba_corr2",
+ "label": "Korrekturen 2 in Ba (mit Bleistift)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „Noch zwingt mich Treue“ M 139: Textfassung 2."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1
bis 1",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 3."
+ },
+ {
+ "measure": "3",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 3."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav.",
+ "position": "letzte Note
letzte Note",
+ "comment": "Decrescendogabel T. 4 1.–2. Note und Crescendogabel 3. – 4. Note (siehe Textfassung 3) überschreiben Decrescendogabel."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "6/16",
+ "comment": "{{ref.getGlyph('[ppp]')}} gestrichen."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Korrekturskizzen zu Textfassung 3."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "5–6/8",
+ "comment": "Korrekturskizzen zu Textfassung 3."
+ },
+ {
+ "measure": "13
bis 16",
+ "system": "Klav. o.",
+ "position": "8/16
2. Note",
+ "comment": "Bogen geändert zu zwei Bögen in T. 13 8/16–6/8 und T. 14 1. Note bis T. 16 2. Note."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "c gestrichen (siehe Textfassung 3)."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "c/a gestrichen (siehe Textfassung 3)."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. u.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} gestrichen und ersetzt durch {{ref.getGlyph('[p]')}}. Siehe TkA."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. u.",
+ "position": "1–2/8",
+ "comment": "Decrescendogabel hinzugefügt (siehe Textfassung 3)."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. u.",
+ "position": "4–5/8",
+ "comment": "Crescendogabel hinzugefügt (siehe Textfassung 3)."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. u.",
+ "position": "1/4",
+ "comment": "F gestrichen (siehe Textfassung 3)."
+ },
+ {
+ "measure": "20",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu gis hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Bb_corr",
+ "label": "Korrekturen in Bb (mit Bleistift)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „Ja Heil und Dank dir“ M 140: Textfassung 1."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "1. Pause",
+ "comment": "Viertelpause (siehe Textfassung 2) überschreibt Achtelpause."
+ },
+ {
+ "measure": "vor 1
bis 2",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Fähnchen überschreiben Balkennotation."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Klav.",
+ "position": "2/4",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Achtelnote b1 geändert zu Sechzehntelnote e2 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang bis 4/4",
+ "comment": "rit[.] - - - hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/4",
+ "comment": "Fermate hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "14/16",
+ "comment": "Fermate hinzugefügt (siehe Textfassung 2 7/8)."
+ },
+ {
+ "measure": "9",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "tempo hinzugefügt (siehe Textfassung 2 T. 8 15/16)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "1/4–6/8",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1/4–4/8",
+ "comment": "8va hinzugefügt (sic: bis 4/8; siehe Textfassung 2 1/4–3/8)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "1. Note bis Taktende",
+ "comment": "Ped[.] - - - hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Auf Rasur mit schwarzer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "6/8",
+ "comment": "Auf Rasur mit schwarzer Tinte. Nach Takt- und Akkoladenende Skizze Viertelnote {{ref.getGlyph('[a]')}}e/g/{{ref.getGlyph('[b]')}}fes1 (?) mit Bleistift."
+ },
+ {
+ "measure": "12",
+ "system": "",
+ "position": "Taktanfang bis 2/8",
+ "comment": "rit[.] - - - hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Zwei Achtelnoten geändert zu Triolische Viertelnote gis1, Achtelnote e1 (siehe Textfassung 2). Dann Triolenziffer gestrichen."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "(1–2/4)",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Klav.",
+ "position": "2. Note
5/16",
+ "comment": "Ped[.] - - - bis Ende T. 13 (Akkoladenwechsel) und Pedal-Aufhebung in T. 14 5/16 hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "10.–12. Note",
+ "comment": "Decrescendogabel hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "Korrekturskizze mit blauer Tinte: zwei Viertelnoten d1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o.",
+ "position": "2–4/16",
+ "comment": "< > (siehe Textfassung 2) hinzugefügt."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "6/16, 4/8",
+ "comment": "es (siehe Textfassung 2) hinzugefügt mit blauer Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "Achtelnote durch Einkresiung getilgt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "14",
+ "system": "Klav.",
+ "position": "12/16 bis letzte Note",
+ "comment": "Ped[.] - - - (siehe Textfassung 2) hinzugefügt."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "As ersetzt cis mit blauer Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Bc_corr1",
+ "label": "Korrekturen 1 in Bc (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „So ich traurig bin“ M 141: Textfassung 1."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "4–5/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1 rasiert."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: Viertelnote Ges1, Achtelnote F1 (?)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[b]')}}es1 überschreibt {{ref.getGlyph('[#]')}}dis1."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Ges.",
+ "position": "2. Note
1/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "3. Note als punktierte Achtelnote auf Rasur, 4. Note uneindeutig mit Achtel- oder Sechzehntelfähnchen. Siehe Korrekturen 2 und TkA."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Bc_corr2",
+ "label": "Korrekturen 2 in Bc (mit Bleistift)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „So ich traurig bin“ M 141: Textfassung 1."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "4",
+ "system": "",
+ "position": "nach 4/16, vor 3/8",
+ "comment": "Gestrichelter Taktstrich hinzugefügt. Siehe Textfassung 2 T. 4–5."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "(2/4)",
+ "comment": "Korrekturskizze zu Textfassung 2 (T. 5)."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Punktierung der 1. Note sowie Balkierung der 1. Note und 3. Note mit der 2. Note und der 4. Note jeweils als Sechzehntelnote hinzugefügt. Siehe Korrekturen 1 und TkA."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -777,6 +1659,600 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Da_corr",
+ "label": "Korrekturen in Da (mit Bleistift; Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf Eingang („Welt der Gestalten“) M 138: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1
bis 2",
+ "system": "Ges.",
+ "position": "4/8
1/8",
+ "comment": "Bogen gestrichen."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "5. Note (9/8)",
+ "comment": "{{ref.getGlyph('[a]')}} zu g/c1 hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "13/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu fis1 hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "",
+ "position": "15/8",
+ "comment": "rit[.] über der Akkolade hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt und geändert zu {{ref.getGlyph('[p]')}}."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "4.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "8.–10. Note",
+ "comment": "Triolenziffer hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2/8, 7/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "Verlängerung der 8va-Geltungslinie hinzugefügt. Db: Akkoladenwechsel nach T. 5."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1/8–2/4",
+ "comment": "Zwei Achtelnoten, eine Viertelnote Cis2 mit Ligatur 2/8 – 2/4 sowie Ligaturbogen zu T. 6 1/8 hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "8–9/8",
+ "comment": "Ligaturbögen h/d–h/d hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "21/16",
+ "comment": "{{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "24/16",
+ "comment": "{{ref.getGlyph('[a]')}} zu c/e hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "8.–10. Note",
+ "comment": "Triolenziffer hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "28/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "vor 7",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Violinschlüssel überschreibt Bassschlüssel."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Triolenziffer hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "8.–10. Note",
+ "comment": "Triolenziffer hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "10/16",
+ "comment": "rit. über der Akkolade hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8, 9/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "14/16",
+ "comment": "rit[.] über der Akkolade hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "5/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu f hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "13–14/8",
+ "comment": "Oberstimmenschicht: Ligaturbögen gestrichen. Siehe TkA."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "5–6/8",
+ "comment": "Ligaturbögen e1/b1–e1/b1 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "6/8–10/8",
+ "comment": "Text Dä-m̅er der frü[-]he hinzugefügt (Hs.?)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "8/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu a1/d2/g2 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "12/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu d2/g2 und {{ref.getGlyph('[#]')}} zu cis2 hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu es1 und {{ref.getGlyph('[a]')}} zu h1 hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/8–6/4",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "7/8",
+ "comment": "fis1 überschreibt ais1."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/4",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "13/8",
+ "comment": "rit[.] über der Akkolade hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "1/4",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} zu g1 überschreibt {{ref.getGlyph('[#]')}} zu gis1."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "{{ref.getGlyph('[b]')}} überschreibt {{ref.getGlyph('[a]')}}."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o.",
+ "position": "3. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[#]')}} zu cis1 hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Db_corr",
+ "label": "Korrekturen in Db (mit Bleistift; Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Noch zwingt mich Treue“ M 139: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "",
+ "comment": "Langsam hinzugefügt."
+ },
+ {
+ "measure": "vor 1
bis 2",
+ "system": "Ges.",
+ "position": "1. Note
2/8",
+ "comment": "Bogen gestrichen."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt.
{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "zögernd hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "zögernd hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3/4",
+ "comment": "Zuerst Crescendogabel hinzugefügt, dann gestrichen."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1–2/8, 2–3/8",
+ "comment": "Bögen hinzugefügt."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "",
+ "position": "(2/4)
Taktende",
+ "comment": "Zuerst rit. zu Anfang T. 4 über Klav. hinzugefügt, dann gestrichen und geändert zu rit[.] - - -."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Ges.",
+ "position": "4/8
2/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "noch | langsamer hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "(2/4)",
+ "comment": "tempo über Klav. hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "{{ref.getGlyph('[#]')}} zu Cis. {{ref.getGlyph('[a]')}} zu A/c hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Tempo hinzugefügt, dann gestrichen. Siehe Korrektur zu T. 7 2/4."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu As, {{ref.getGlyph('[a]')}} zu d/g hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu b, {{ref.getGlyph('[a]')}} zu d1 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "5. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu des1 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1/e1 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "6. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu c2/e2 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt.
{{ref.getGlyph('[pp]')}} und > hinzugefügt."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Ges.",
+ "position": "6/8
2. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt.
[xx] (?) über der Note hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu as2 hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu as2 hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[f]')}} und ten. hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "6/16",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1/e1 hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "8/16",
+ "comment": "{{ref.getGlyph('[#]')}} zu Fis1/Fis hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu a hinzugefügt."
+ },
+ {
+ "measure": "14
bis 15",
+ "system": "Ges.",
+ "position": "2/8
4/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "(Zusätzliches) {{ref.getGlyph('[p]')}} und [xx] (?) über dem System hinzugefügt."
+ },
+ {
+ "measure": "15
bis 17",
+ "system": "",
+ "position": "(3/4)
Taktende",
+ "comment": "rit[.] - - - hinzugefügt."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu h1/h2, {{ref.getGlyph('[b]')}} zu es2 hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Zäsurzeichen hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Ges.",
+ "position": "4.–6. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. u.",
+ "position": "3/4",
+ "comment": "Oberstimmenschicht: {{ref.getGlyph('[a]')}} zu d hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "Oberstimmenschicht: {{ref.getGlyph('[#]')}} zu gis hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "sehr langsam hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "rit[.] unter der Note hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu d/f hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu a hinzugefügt."
+ },
+ {
+ "measure": "20",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu gis/cis1 hinzugefügt."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -890,7 +2366,341 @@
"measureNumbers": [],
"instrumentations": [],
"annotations": [],
- "contents": []
+ "contents": [],
+ "corrections": [
+ {
+ "id": "source_GH_corr",
+ "label": "Korrekturen in GH",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Ihr tratet zu dem Herde“ M 142: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Sehr hinzugefügt vor Langsam ({{ref.getGlyph('[Viertelnote]')}}) mit schwarzer Tinte."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav.",
+ "position": "1.–2. Note",
+ "comment": "Crescendogabel hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "1.–2. Note",
+ "comment": "Decrescendogabel hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 3/4 hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "2
bis 3",
+ "system": "Klav. u",
+ "position": "letzte Note
2/8",
+ "comment": "Unterstimmenschicht: Bogen hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3
bis 5",
+ "system": "Klav. u.",
+ "position": "1/4
6. Note",
+ "comment": "Oberstimmenschicht: Bogen (siehe Textfassung 1) gestrichen mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav.",
+ "position": "3.–5. Note",
+ "comment": "Bögen über und unter dem System hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu A/c hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Ges., Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[mf]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "2.–3. Note",
+ "comment": "Bögen über und unter dem System hinzugefügt mit roter Tinte.
Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Klav. u.",
+ "position": "2/4
2/8",
+ "comment": "Notation wie Textfassung 1 geändert zu Textfassung 2 mit roter Tinte."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Ges.",
+ "position": "4/8
1/8",
+ "comment": "Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Ges., Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 4/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "1.–4. Note",
+ "comment": "Oberstimmenschicht: Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3.–4. Note",
+ "comment": "Unterstimmenschicht: Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "2.–6. Note",
+ "comment": "Unterstimmenschicht: Bogen hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3/4 bis 6. Note",
+ "comment": "Oberstimmenschicht: Ligaturbögen zu 6. Note gestrichen,
6. Note gestrichen und korrigiert zu Achtelpause mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3/4 bis 6. Note",
+ "comment": "Unterstimmenschicht: Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "6. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} zu A hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5
bis 8",
+ "system": "Klav.",
+ "position": "vorletzte Note
1/4",
+ "comment": "Bogen (siehe Textfassung 1) in T. 6–8 gestrichen mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "bewegter hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1/4",
+ "comment": "Arpeggioschlangen hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu g1 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 3/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu c2 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu G/c hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c2 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu G/c hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8
bis 12",
+ "system": "Klav. o.",
+ "position": "2/4
1/8",
+ "comment": "Bogen (siehe Textfassung 1) gestrichen in T. 9–11."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 3/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "2/4",
+ "comment": "express. hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "express. hinzugefügt mit roter Tinte.
Arpeggioschlange hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1–2/4",
+ "comment": "Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "2/4",
+ "comment": "Arpeggioschlange hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Tempo I. über Akkolade hinzugefügt mit roter Tinte. Über Klav. o. I. nach tempo hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "1/8–4/16",
+ "comment": "Fähnchen (siehe Textfassung 1) überschrieben zu Balken mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "3–4/8",
+ "comment": "Oberstimmenschicht: Ligatur aus zwei zusammengebalkten Achtelnoten a1 (siehe Textfassung 1) geändert zu Viertelnote a1. Unterstimmenschicht: Achtelpause zu 3/8 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "(4–5/8)",
+ "comment": "Oberstimmenschicht: Decrescendogabel hinzugefügt mit roter Tinte. Unterstimmenschicht: Ligatur aus 2 Achtelnoten h/d1 (siehe Textfassung 1) geändert zu Viertelnote h/d1 mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "Unterstimmenschicht: Achtelpause hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12
bis 13",
+ "system": "Ges.",
+ "position": "letzte Note
3/8",
+ "comment": "Bogen von T. 12 1. Note (siehe Textfassung 1) geändert zu Bogen von T. 12 letzte Note mit roter Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "sehr langsam geändert zu sehr ruhig mit roter Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Notation wie Textfassung 1 geändert zu Textfassung 2 mit roter Tinte."
+ },
+ {
+ "measure": "14
bis 15",
+ "system": "",
+ "position": "Taktanfang
Taktende",
+ "comment": "rit. - - - hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu b1, {{ref.getGlyph('[a]')}} zu h/f1 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu g1 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav.",
+ "position": "(3/8)",
+ "comment": "Ped. hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 3/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav. u.",
+ "position": "1.–4. Note",
+ "comment": "1.–2. Note auf Rasur. 3.–4. Note: D1 gestrichen und geändert zu H mit roter Tinte. Ante correcturam: wie Textfassung 1."
+ }
+ ]
+ }
+ ]
+ }
+ ]
}
},
{
@@ -1676,6 +3486,396 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_I_corr",
+ "label": "Korrekturen in I",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf die Textfassungen der Werkedition von Fünf Lieder nach Gedichten von Stefan George op. 4"
+ ],
+ "comments": [
+ {
+ "blockHeader": "I Eingang („Welt der Gestalten“) M 138: Textfassung 3",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Ruhevoll ({{ref.getGlyph('[Achtelnote]')}} = ca 58 <58>), 58 gestrichen mit Bleistift, <58> hinzugefügt mit schwarzer Tinte (Hs. Webern?)."
+ },
+ {
+ "measure": "1–13",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren. Ante correcturam: u. a. in der Regel Fähnchen bei Achtelnoten (wie Textfassung 2)."
+ },
+ {
+ "measure": "1–15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "8/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu h1 gestrichen mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[b]')}} geändert zu {{ref.getGlyph('[a]')}} mit Bleistift, {{ref.getGlyph('[a]')}} nachgezogen mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "weis-ser überschrieben zu weißer mit blauem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "1. Pause",
+ "comment": "Auf Rasur, etwas unleserlich durch Papierbeschädigung bei Rasur. Daneben × und am linken Seitenrand Halbe Pause mit rotem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "7/4",
+ "comment": "{{ref.getGlyph('[b]')}} zu es2 gestrichen mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} im System zu Klav. o. gestrichen und zwischen den Klav.-Systemen neu notiert mit schwarzer Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "vorletzte bis letzte Note",
+ "comment": "Silbentrennstrich bei [mar[-]]mor-nen hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "9–12/16",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "Fortsetzung des Bogens von T. 7 Klav. o. (nach Seitenwechsel) hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu e1 geändert zu {{ref.getGlyph('[a]')}} mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "12/8",
+ "comment": "molto espress. zwischen 7. und 8. Note gestrichen und neu notiert bei 12/8 mit schwarzer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/4",
+ "comment": "{{ref.getGlyph('[pp]')}} bei 13/8 gestrichen und neu notiert bei 6/4 mit schwarzer Tinte."
+ },
+ {
+ "measure": "11
bis 12",
+ "system": "Ges.",
+ "position": "13/8
2/8",
+ "comment": "Decrescendogabel T. 11 13/8 bis T. 12 1/8 über dem System gestrichen mit Bleistift. Decrescendogabel T. 13/8 bis T. 12 2/8 unter dem System möglicherweise dann hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Unterstimmenschicht: Fortsetzung (nach Seitenwechsel) eines Ligaturbogens zu fis hinzugefügt mit Bleistift. T. 13: Anfang nur eines Bogens (Ligatur- oder Legatobogen?)."
+ }
+ ]
+ },
+ {
+ "blockHeader": "II „Noch zwingt mich Treue“ M 139: Textfassung 3",
+ "blockComments": [
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "({{ref.getGlyph('[a]')}}) gestrichen mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "1.–4. Note",
+ "comment": "Crescendo-, Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Mein geändert zu mein mit Bleistift."
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "2/8",
+ "comment": "Pedal-Aufhebung bei 1/4 gestrichen mit Bleistift und neu notiert bei 2/8 mit schwarzer Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "4.–5. Note",
+ "comment": "Ligaturbogen zu G–G hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[p]')}} überschreibt Anfang der Crescendogabel, vermutlich hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Ges.",
+ "position": "letzte Note
1/4",
+ "comment": "Silbenlängenstrich hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} überschreibt {{ref.getGlyph('[a]')}}."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Silbentrennstrich von An-ruf hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4–5/8",
+ "comment": "Silbentrennung von em-pfan[-gen] geändert zu emp-fan[-gen] mit blauem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "letzte Note",
+ "comment": "Ende des Bogens über den Takt hinaus (vor Seitenwechsel) gestrichen und neu notiert bis letzte Note mit schwarzer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Crescendogabel auf Rasur."
+ },
+ {
+ "measure": "13",
+ "system": "Klav.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[f]')}} bei 1. Pause gestrichen und neu notiert bei 1. Note mit schwaruer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "6/16",
+ "comment": "{{ref.getGlyph('[b]')}} zu des3 überschreibt {{ref.getGlyph('[a]')}}, {{ref.getGlyph('[a]')}} zu a2 überschreibt {{ref.getGlyph('[b]')}} mit schwarzer Tinte."
+ },
+ {
+ "measure": "18",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Crescendogabel in Klav. o über dem System und in Klav. u. unter dem System gestrichen mit Bleistift, Gabel zwischen den Systemen vermutlich hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "19",
+ "system": "Klav.",
+ "position": "1/4",
+ "comment": "Decrescendogabel in Klav. o über dem System und in Klav. u. unter dem System gestrichen mit Bleistift, Gabel zwischen den Systemen vermutlich hinzugefügt mit schwarzer Tinte."
+ }
+ ]
+ },
+ {
+ "blockHeader": "III „Ja Heil und Dank dir“ M 140: Textfassung 2",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Schließende Gabel von < > gestrichen mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "5.–6. Note",
+ "comment": "Augmentationspunkt zu 5. Note und Sechzehntelbalken zu 6. Note hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rückkehrend auf Rasur."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1. Pause bis 6/8",
+ "comment": "Decrescendogabel über dem System gestrichen mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Notenhals auf Rasur, nachgezogen mit blauem Buntstift."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "15/16",
+ "comment": "Violinschlüssel nach 15/16 hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Achtelnote überschreibt Achtelpause mit schwarzer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "5–6/8",
+ "comment": "Bogenansatz unter den Noten gestrichen und über den Noten neu notiert mit schwarzer Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} gestrichen und geändert zu {{ref.getGlyph('[b]')}} mit Bleistift."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. u.",
+ "position": "2/2",
+ "comment": "Halbe Pause hinzugefügt mit Bleistift."
+ }
+ ]
+ },
+ {
+ "blockHeader": "IV „So ich traurig bin“ M 141: Textfassung 2",
+ "blockComments": [
+ {
+ "measure": "1–15",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren. Ante correcturam: Fähnchen bei Achtelnoten (wie Textfassung 1)."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[ppp]')}} gestrichen mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Nach unten orientierter Notenhals zu Gis gestrichen mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "Achtelpause hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "3/16 bzw. 2/8",
+ "comment": "Sechzehntelpause in Oberstimmenschicht und Achtelpause in Unterstimmenschicht überschreiben eine Sechzehntelpause mit grünem Buntstift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "6/16",
+ "comment": "{{ref.getGlyph('[a]')}} überschreibt {{ref.getGlyph('[b]')}} mit Bleistift."
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Rasur zwischen den Systemen. Ante correcturam: vermutlich Crescendogabel (siehe Textfassung 1)."
+ }
+ ]
+ },
+ {
+ "blockHeader": "V „Ihr tratet zu dem Herde“ M 142: Textfassung 3",
+ "blockComments": [
+ {
+ "measure": "1–15",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren. Ante correcturam: Fähnchen bei Achtelnoten (wie Textfassung 1 und 2)."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "3. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} unter dem System gestrichen. ##zwischen den Systemen neu notiert? siehe nächste Korrektur##"
+ },
+ {
+ "measure": "1
bis 5",
+ "system": "Klav.",
+ "position": "1. Pause
(3/4)",
+ "comment": "sic: rechte Hand als Oberstimmenschicht in Klav. u. notiert. Markierung und Anmerkung × Anmerkung für | den Stecher: | rechte Hand ins obere | System (Baßschlüssel) am rechten Seitenrand sowie Bassschlüssel in Klav. o. T. 1 vor 1. Pause sowie Violinschlüssel in Klav. o. T. 5 vor 2. Pause hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Silbentrennstrich bei Su-chen hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Silbentrennstrich bei Ta-sten hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "2.–3. Note",
+ "comment": "Decrescendogabel unter Klav. u. gestrichen und zwischen den Systemen neu notiert mit schwarzer Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "2/4–5/8",
+ "comment": "Decrescendogabel im System gestrichen und über dem System neu notiert mit schwarzer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "4. Note",
+ "comment": "Oberstimmenschicht: Viertelnote überschreibt Achtelnote mit Bleistift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1687,7 +3887,7 @@
"location": "Wien: Universal Edition, 1923.",
"description": {
"desc": [
- "12 Seiten (S [1]–[12]): 3 fadengeheftete Bögen (S. [1]|2/11|[12], 3|4/9|10 und 5|6/7|8) in Umschlag (S. [a]–[d]), Format: hoch ### × ### mm. S. [2] und [12] sowie innere Seiten des Umschlags (S. [b] und [c]) nicht bedruckt. [Die konsultierten Exemplare lassen wegen Einbindung in Sammelbände keine Aussagen über das Originalformat und den Inhalt von S. [d] (Verlagsanzeige?) zu.]"
+ "12 Seiten (S. [1]–[12]): 3 fadengeheftete Bögen (S. [1]|2/11|[12], 3|4/9|10 und 5|6/7|8) in Umschlag (S. [a]–[d]), Format: hoch ### × ### mm. S. [2] und [12] sowie innere Seiten des Umschlags (S. [b] und [c]) nicht bedruckt. [Die konsultierten Exemplare lassen wegen Einbindung in Sammelbände keine Aussagen über das Originalformat und den Inhalt von S. [d] (Verlagsanzeige?) zu.]"
],
"writingMaterialStrings": [],
"writingInstruments": {
diff --git a/src/assets/data/edition/series/2/section/2a/intro.json b/src/assets/data/edition/series/2/section/2a/intro.json
new file mode 100644
index 0000000000..9f9ed9cd9a
--- /dev/null
+++ b/src/assets/data/edition/series/2/section/2a/intro.json
@@ -0,0 +1,12 @@
+{
+ "intro": [
+ {
+ "id": "de-awg-II-2a",
+ "content": []
+ },
+ {
+ "id": "en-awg-II-2a",
+ "content": []
+ }
+ ]
+}
diff --git a/src/assets/data/edition/series/2/section/2a/m38/textcritics.json b/src/assets/data/edition/series/2/section/2a/m38/textcritics.json
index c109aadf56..0c90d6726a 100644
--- a/src/assets/data/edition/series/2/section/2a/m38/textcritics.json
+++ b/src/assets/data/edition/series/2/section/2a/m38/textcritics.json
@@ -238,7 +238,7 @@
},
{
"svgGroupId": "g1426",
- "measure": "{11A} bis
{12A}",
+ "measure": "{11A}
bis {12A}",
"system": "1–2",
"position": "1/8
2/8",
"comment": "Noten gestrichen."
diff --git a/src/assets/img/edition/series/1/section/5/cover.jpg b/src/assets/img/edition/series/1/section/5/cover.jpg
new file mode 100644
index 0000000000..7e6c15b09a
Binary files /dev/null and b/src/assets/img/edition/series/1/section/5/cover.jpg differ
diff --git a/src/assets/img/edition/series/2/section/2a/m38/M38_Sk2-1von1-final.svg b/src/assets/img/edition/series/2/section/2a/m38/M38_Sk2-1von1-final.svg
index 8091bfb68f..3059abeb52 100644
--- a/src/assets/img/edition/series/2/section/2a/m38/M38_Sk2-1von1-final.svg
+++ b/src/assets/img/edition/series/2/section/2a/m38/M38_Sk2-1von1-final.svg
@@ -141,28 +141,6 @@
-
-
-
-
-
-
-
+
+
+
+
diff --git a/src/assets/img/edition/series/2/section/2a/m38/M38_Sk3-2von5-final.svg b/src/assets/img/edition/series/2/section/2a/m38/M38_Sk3-2von5-final.svg
index e958b0c035..be81b29bf1 100644
--- a/src/assets/img/edition/series/2/section/2a/m38/M38_Sk3-2von5-final.svg
+++ b/src/assets/img/edition/series/2/section/2a/m38/M38_Sk3-2von5-final.svg
@@ -184,19 +184,14 @@
-
+
@@ -270,4 +265,5 @@
+ AWG prototype is…
+ AWG-APP is…
diff --git a/src/styles.scss b/src/styles.scss
index 854a4c8d23..74dcad7d06 100644
--- a/src/styles.scss
+++ b/src/styles.scss
@@ -4,5 +4,5 @@
@import 'assets/themes/scss/customized-bootstrap';
// Add additional custom code here
-@import url('https://fonts.googleapis.com/css?family=Montserrat:100,400');
+@import url('https://fonts.googleapis.com/css?family=Montserrat:100,400&display=swap');
@import 'assets/themes/scss/main.scss';
diff --git a/src/testing/mock-data/mockEditionData.ts b/src/testing/mock-data/mockEditionData.ts
index 890d2d22bf..bb30b6b5a0 100644
--- a/src/testing/mock-data/mockEditionData.ts
+++ b/src/testing/mock-data/mockEditionData.ts
@@ -237,27 +237,60 @@ export const mockEditionData = {
mockIntroData: {
intro: [
{
- id: 'op12',
+ id: 'test_intro',
content: [
- "Die Skizzen in A enthalten datierte Verlaufsskizzen zu allen vier Liedern.",
- "In Test Sk1 werden T. [11]–[12] aus Test Sk1 neu skizziert.80",
+ {
+ blockId: 'test_block_id_1',
+ blockHeader: 'Test block header 1',
+ blockContent: [
+ "Die Skizzen in A enthalten datierte Verlaufsskizzen zu allen vier Liedern.",
+ "In Test Sk1 werden T. [11]–[12] aus Test Sk1 neu skizziert.80",
+ ],
+ blockNotes: [
+ "80 | Webern an Schönberg, 21. Januar 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18240]).",
+ ],
+ },
+ {
+ blockId: 'test_block_id_2',
+ blockHeader: 'Test block header 2',
+ blockContent: ['Test block content 2'],
+ blockNotes: ['Test block notes 2'],
+ },
],
- footnotes: [
- "80 | Webern an Schönberg, 21. Januar 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18240]).",
+ },
+ ],
+ },
+
+ /**
+ * Test helper data constant: mockIntroFilteredData.
+ *
+ * It provides a mocked intro data object with filtered content.
+ */
+ mockIntroFilteredData: {
+ intro: [
+ {
+ id: 'test_intro',
+ content: [
+ {
+ blockId: 'test_block_id_2',
+ blockHeader: 'Test block header 2',
+ blockContent: ['Test block content 2'],
+ blockNotes: ['Test block notes 2'],
+ },
],
},
],
},
/**
- * Test helper data constant: mockIntroEmptyData.
+ * Test helper data constant: mockIntroComplexData.
*
- * It provides a mocked intro data object with empty content.
+ * It provides a mocked intro data object of an edition complex.
*/
- mockIntroEmptyData: {
+ mockIntroComplexData: {
intro: [
{
- id: 'op12',
+ id: 'test_block_id_2',
content: [],
},
],
diff --git a/yarn.lock b/yarn.lock
index 8205b533f5..39d5a74ffc 100644
--- a/yarn.lock
+++ b/yarn.lock
@@ -22,18 +22,18 @@ __metadata:
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linkType: hard
-"@angular-devkit/architect@npm:0.1802.0":
- version: 0.1802.0
- resolution: "@angular-devkit/architect@npm:0.1802.0"
+"@angular-devkit/architect@npm:0.1802.10":
+ version: 0.1802.10
+ resolution: "@angular-devkit/architect@npm:0.1802.10"
dependencies:
- "@angular-devkit/core": "npm:18.2.0"
+ "@angular-devkit/core": "npm:18.2.10"
rxjs: "npm:7.8.1"
dependenciesMeta:
esbuild:
built: true
puppeteer:
built: true
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+ checksum: 10c0/dc7b4fa6e48b2831459a6d9d9c09cfc2780a794299781436c1793b9b230b549d5a898e408a13ff6dbba5a1d72eaeadefa5b1f2a9aa3f7ca43f8033e5cda14351
languageName: node
linkType: hard
@@ -47,15 +47,15 @@ __metadata:
languageName: node
linkType: hard
-"@angular-devkit/build-angular@npm:^18.2.0":
- version: 18.2.0
- resolution: "@angular-devkit/build-angular@npm:18.2.0"
+"@angular-devkit/build-angular@npm:^18.2.10":
+ version: 18.2.10
+ resolution: "@angular-devkit/build-angular@npm:18.2.10"
dependencies:
"@ampproject/remapping": "npm:2.3.0"
- "@angular-devkit/architect": "npm:0.1802.0"
- "@angular-devkit/build-webpack": "npm:0.1802.0"
- "@angular-devkit/core": "npm:18.2.0"
- "@angular/build": "npm:18.2.0"
+ "@angular-devkit/architect": "npm:0.1802.10"
+ "@angular-devkit/build-webpack": "npm:0.1802.10"
+ "@angular-devkit/core": "npm:18.2.10"
+ "@angular/build": "npm:18.2.10"
"@babel/core": "npm:7.25.2"
"@babel/generator": "npm:7.25.0"
"@babel/helper-annotate-as-pure": "npm:7.24.7"
@@ -66,7 +66,7 @@ __metadata:
"@babel/preset-env": "npm:7.25.3"
"@babel/runtime": "npm:7.25.0"
"@discoveryjs/json-ext": "npm:0.6.1"
- "@ngtools/webpack": "npm:18.2.0"
+ "@ngtools/webpack": "npm:18.2.10"
"@vitejs/plugin-basic-ssl": "npm:1.1.0"
ansi-colors: "npm:4.1.3"
autoprefixer: "npm:10.4.20"
@@ -78,7 +78,7 @@ __metadata:
esbuild: "npm:0.23.0"
esbuild-wasm: "npm:0.23.0"
fast-glob: "npm:3.3.2"
- http-proxy-middleware: "npm:3.0.0"
+ http-proxy-middleware: "npm:3.0.3"
https-proxy-agent: "npm:7.0.5"
istanbul-lib-instrument: "npm:6.0.3"
jsonc-parser: "npm:3.3.1"
@@ -99,7 +99,7 @@ __metadata:
postcss-loader: "npm:8.1.1"
resolve-url-loader: "npm:5.0.0"
rxjs: "npm:7.8.1"
- sass: "npm:1.77.8"
+ sass: "npm:1.77.6"
sass-loader: "npm:16.0.0"
semver: "npm:7.6.3"
source-map-loader: "npm:5.0.0"
@@ -107,10 +107,10 @@ __metadata:
terser: "npm:5.31.6"
tree-kill: "npm:1.2.2"
tslib: "npm:2.6.3"
- vite: "npm:5.4.0"
+ vite: "npm:5.4.6"
watchpack: "npm:2.4.1"
- webpack: "npm:5.93.0"
- webpack-dev-middleware: "npm:7.3.0"
+ webpack: "npm:5.94.0"
+ webpack-dev-middleware: "npm:7.4.2"
webpack-dev-server: "npm:5.0.4"
webpack-merge: "npm:6.0.1"
webpack-subresource-integrity: "npm:5.1.0"
@@ -157,15 +157,15 @@ __metadata:
optional: true
tailwindcss:
optional: true
- checksum: 10c0/9cd89b392417ae8ba284035f9bb2c27f47c3ff76edaac3c9f2586cf25902f6fa4f64484dbeae37f21f31dd1beeca3d43901901acdf0f98586a3fc36163b6ff52
+ checksum: 10c0/e9fa9b893073f39de23f5b86fd07f99d002d71d45760e47975c4e9e1f452bfe3f51065574b6751fe82d01f9856b61c1262e6a79b5d7d37fadd9c21db15237631
languageName: node
linkType: hard
-"@angular-devkit/build-webpack@npm:0.1802.0":
- version: 0.1802.0
- resolution: "@angular-devkit/build-webpack@npm:0.1802.0"
+"@angular-devkit/build-webpack@npm:0.1802.10":
+ version: 0.1802.10
+ resolution: "@angular-devkit/build-webpack@npm:0.1802.10"
dependencies:
- "@angular-devkit/architect": "npm:0.1802.0"
+ "@angular-devkit/architect": "npm:0.1802.10"
rxjs: "npm:7.8.1"
peerDependencies:
webpack: ^5.30.0
@@ -175,13 +175,13 @@ __metadata:
built: true
puppeteer:
built: true
- checksum: 10c0/7d0873483b83e24c4ad99dd0f1904dd99e37fee286328d4a391bcef384d454c0532f9d50f71bdb128fcb35be35fab826060184bb623dbbaab2d319c1e3d5576c
+ checksum: 10c0/9d7acb957535c269449769436ea5765c9774b4f30c7ef534648442de56082b3f759d2241eef79b14f1beb8226d53909f907a6b8d5490a8820adb87a174738915
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- resolution: "@angular-devkit/core@npm:18.0.1"
+"@angular-devkit/core@npm:18.0.2, @angular-devkit/core@npm:^18.0.0":
+ version: 18.0.2
+ resolution: "@angular-devkit/core@npm:18.0.2"
dependencies:
ajv: "npm:8.13.0"
ajv-formats: "npm:3.0.1"
@@ -194,32 +194,37 @@ __metadata:
peerDependenciesMeta:
chokidar:
optional: true
- checksum: 10c0/df2d4f287f24d65beac1cca4ae6443d0a0c97e1cff61942c9e55d7ce6b4aad5984c4a1227637b3ca35b534608d468243f25800642eaff5ed9f2d7c93c5d3a58d
+ checksum: 10c0/ae852be80f4f74fc03c04dd20d818201dfeeff40b9aadc9f2dffdfae6d5bc3476d2758bbeff5dac845cfc58e99c5d58392bc74dae7cee231e0d9b3fe1b5adfe5
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- version: 18.0.2
- resolution: "@angular-devkit/core@npm:18.0.2"
+"@angular-devkit/core@npm:18.2.10":
+ version: 18.2.10
+ resolution: "@angular-devkit/core@npm:18.2.10"
dependencies:
- ajv: "npm:8.13.0"
+ ajv: "npm:8.17.1"
ajv-formats: "npm:3.0.1"
- jsonc-parser: "npm:3.2.1"
+ jsonc-parser: "npm:3.3.1"
picomatch: "npm:4.0.2"
rxjs: "npm:7.8.1"
source-map: "npm:0.7.4"
peerDependencies:
chokidar: ^3.5.2
+ dependenciesMeta:
+ esbuild:
+ built: true
+ puppeteer:
+ built: true
peerDependenciesMeta:
chokidar:
optional: true
- checksum: 10c0/ae852be80f4f74fc03c04dd20d818201dfeeff40b9aadc9f2dffdfae6d5bc3476d2758bbeff5dac845cfc58e99c5d58392bc74dae7cee231e0d9b3fe1b5adfe5
+ checksum: 10c0/11d007850335bac47d0e7d778122db746f81aa9f7c78d4ed835275da5edfbf486cbc7ba1c44a6db62f980ba59a55777f95acb117b07aca9b8238ddff9ebfb816
languageName: node
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-"@angular-devkit/core@npm:18.2.0":
- version: 18.2.0
- resolution: "@angular-devkit/core@npm:18.2.0"
+"@angular-devkit/core@npm:18.2.8":
+ version: 18.2.8
+ resolution: "@angular-devkit/core@npm:18.2.8"
dependencies:
ajv: "npm:8.17.1"
ajv-formats: "npm:3.0.1"
@@ -237,28 +242,33 @@ __metadata:
peerDependenciesMeta:
chokidar:
optional: true
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+ checksum: 10c0/c75d01857c21b6db80c92254b8651322d2a185119074761b00ae24e68f1ac4ba137861951de44233e54ea894c3f640324064b061d23c6ce0321f142f33b6b062
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- resolution: "@angular-devkit/schematics@npm:18.0.1"
+"@angular-devkit/schematics@npm:18.2.10":
+ version: 18.2.10
+ resolution: "@angular-devkit/schematics@npm:18.2.10"
dependencies:
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- jsonc-parser: "npm:3.2.1"
- magic-string: "npm:0.30.10"
+ "@angular-devkit/core": "npm:18.2.10"
+ jsonc-parser: "npm:3.3.1"
+ magic-string: "npm:0.30.11"
ora: "npm:5.4.1"
rxjs: "npm:7.8.1"
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+ dependenciesMeta:
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+ built: true
+ puppeteer:
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- resolution: "@angular-devkit/schematics@npm:18.2.0"
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+ version: 18.2.8
+ resolution: "@angular-devkit/schematics@npm:18.2.8"
dependencies:
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+ "@angular-devkit/core": "npm:18.2.8"
jsonc-parser: "npm:3.3.1"
magic-string: "npm:0.30.11"
ora: "npm:5.4.1"
@@ -268,7 +278,7 @@ __metadata:
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puppeteer:
built: true
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+ version: 18.4.0
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debug: "npm:^4.3.4"
ts-api-utils: "npm:^1.3.0"
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+ "@typescript-eslint/visitor-keys": "npm:8.11.0"
debug: "npm:^4.3.4"
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is-glob: "npm:^4.0.3"
minimatch: "npm:^9.0.4"
semver: "npm:^7.6.0"
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+ "@typescript-eslint/types": "npm:8.11.0"
+ "@typescript-eslint/typescript-estree": "npm:8.11.0"
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- resolution: "@typescript-eslint/visitor-keys@npm:8.1.0"
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dependencies:
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+ "@typescript-eslint/types": "npm:8.11.0"
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- resolution: "angular-cli-ghpages@npm:2.0.1"
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+ resolution: "angular-cli-ghpages@npm:2.0.3"
dependencies:
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"@angular-devkit/core": "npm:^18.0.0"
@@ -5743,7 +6384,7 @@ __metadata:
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ngh: angular-cli-ghpages
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- angular-cli-ghpages: "npm:^2.0.1"
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+ angular-cli-ghpages: "npm:^2.0.3"
bootstrap: "npm:^5.3.3"
codemirror: "npm:^6.0.1"
- commit-and-tag-version: "npm:^12.4.1"
+ commit-and-tag-version: "npm:^12.5.0"
conventional-recommended-bump: "npm:^10.0.0"
d3-drag: "npm:^3.0.0"
d3-fetch: "npm:^3.0.1"
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eslint-plugin-deprecation: "npm:^3.0.0"
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- eslint-plugin-jsdoc: "npm:^50.2.2"
+ eslint-plugin-import: "npm:^2.31.0"
+ eslint-plugin-jsdoc: "npm:^50.4.3"
eslint-plugin-prettier: "npm:^5.2.1"
font-awesome: "npm:^4.7.0"
gzipper: "npm:^7.2.0"
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- jasmine-core: "npm:~5.2.0"
+ husky: "npm:^9.1.6"
+ jasmine-core: "npm:~5.4.0"
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karma-chrome-launcher: "npm:~3.2.0"
karma-coverage: "npm:^2.2.1"
karma-jasmine: "npm:~5.1.0"
karma-jasmine-html-reporter: "npm:^2.1.0"
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- n3: "npm:^1.20.4"
+ lint-staged: "npm:^15.2.10"
+ n3: "npm:^1.22.3"
ngx-json-viewer: "npm:^3.2.1"
prettier: "npm:^3.3.3"
- rdfstore: "musicenfanthen/rdfstore-js#v0.9.18-alpha.16"
+ rdfstore: "musicenfanthen/rdfstore-js#v0.9.18-alpha.17"
rxjs: "npm:~7.8.1"
source-map-explorer: "npm:^2.5.3"
stream: "npm:^0.0.3"
- tslib: "npm:^2.6.2"
+ tslib: "npm:^2.7.0"
typescript: "npm:~5.5.4"
webpack-bundle-analyzer: "npm:^4.10.2"
zone.js: "npm:~0.14.10"
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+ resolution: "babel-plugin-polyfill-corejs3@npm:0.10.6"
+ dependencies:
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+ peerDependencies:
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resolution: "big.js@npm:5.2.2"
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- resolution: "body-parser@npm:1.20.2"
+"body-parser@npm:1.20.3, body-parser@npm:^1.19.0":
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+ resolution: "body-parser@npm:1.20.3"
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content-type: "npm:~1.0.5"
@@ -6298,11 +6933,11 @@ __metadata:
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iconv-lite: "npm:0.4.24"
on-finished: "npm:2.4.1"
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+ qs: "npm:6.13.0"
raw-body: "npm:2.5.2"
type-is: "npm:~1.6.18"
unpipe: "npm:1.0.0"
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- resolution: "bootstrap.native@npm:5.0.12"
+"bootstrap.native@npm:^5.0.13":
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+ resolution: "bootstrap.native@npm:5.0.13"
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resolution: "browserslist@npm:4.23.0"
@@ -6421,6 +7047,20 @@ __metadata:
languageName: node
linkType: hard
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+ version: 4.24.0
+ resolution: "browserslist@npm:4.24.0"
+ dependencies:
+ caniuse-lite: "npm:^1.0.30001663"
+ electron-to-chromium: "npm:^1.5.28"
+ node-releases: "npm:^2.0.18"
+ update-browserslist-db: "npm:^1.1.0"
+ bin:
+ browserslist: cli.js
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+ languageName: node
+ linkType: hard
+
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resolution: "btoa@npm:1.2.1"
@@ -6592,6 +7232,13 @@ __metadata:
languageName: node
linkType: hard
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+ version: 1.0.30001668
+ resolution: "caniuse-lite@npm:1.0.30001668"
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+ languageName: node
+ linkType: hard
+
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resolution: "core-util-is@npm:1.0.3"
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resolution: "css-loader@npm:7.1.2"
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resolution: "css-what@npm:6.1.0"
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resolution: "deep-equal@npm:2.2.3"
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resolution: "destroy@npm:1.2.0"
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resolution: "di@npm:0.0.1"
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languageName: node
linkType: hard
+"electron-to-chromium@npm:^1.5.28":
+ version: 1.5.36
+ resolution: "electron-to-chromium@npm:1.5.36"
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+ languageName: node
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+
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resolution: "electron-to-chromium@npm:1.5.8"
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+ version: 2.0.0
+ resolution: "encodeurl@npm:2.0.0"
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+ languageName: node
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+
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resolution: "encoding@npm:0.1.13"
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- resolution: "enhanced-resolve@npm:5.17.0"
+"enhanced-resolve@npm:^5.17.1":
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+ resolution: "enhanced-resolve@npm:5.17.1"
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tapable: "npm:^2.2.0"
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- resolution: "eslint-module-utils@npm:2.8.1"
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+ resolution: "eslint-module-utils@npm:2.12.0"
dependencies:
debug: "npm:^3.2.7"
peerDependenciesMeta:
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- resolution: "eslint-plugin-import@npm:2.29.1"
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+ resolution: "eslint-plugin-import@npm:2.31.0"
dependencies:
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- array.prototype.findlastindex: "npm:^1.2.3"
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array.prototype.flatmap: "npm:^1.3.2"
debug: "npm:^3.2.7"
doctrine: "npm:^2.1.0"
eslint-import-resolver-node: "npm:^0.3.9"
- eslint-module-utils: "npm:^2.8.0"
- hasown: "npm:^2.0.0"
- is-core-module: "npm:^2.13.1"
+ eslint-module-utils: "npm:^2.12.0"
+ hasown: "npm:^2.0.2"
+ is-core-module: "npm:^2.15.1"
is-glob: "npm:^4.0.3"
minimatch: "npm:^3.1.2"
- object.fromentries: "npm:^2.0.7"
- object.groupby: "npm:^1.0.1"
- object.values: "npm:^1.1.7"
+ object.fromentries: "npm:^2.0.8"
+ object.groupby: "npm:^1.0.3"
+ object.values: "npm:^1.2.0"
semver: "npm:^6.3.1"
+ string.prototype.trimend: "npm:^1.0.8"
tsconfig-paths: "npm:^3.15.0"
peerDependencies:
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- resolution: "eslint-plugin-jsdoc@npm:50.2.2"
+"eslint-plugin-jsdoc@npm:^50.4.3":
+ version: 50.4.3
+ resolution: "eslint-plugin-jsdoc@npm:50.4.3"
dependencies:
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+ "@es-joy/jsdoccomment": "npm:~0.49.0"
are-docs-informative: "npm:^0.0.2"
comment-parser: "npm:1.4.1"
debug: "npm:^4.3.6"
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peerDependencies:
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resolution: "execa@npm:8.0.1"
dependencies:
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linkType: hard
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- version: 4.19.2
- resolution: "express@npm:4.19.2"
+ version: 4.20.0
+ resolution: "express@npm:4.20.0"
dependencies:
accepts: "npm:~1.3.8"
array-flatten: "npm:1.1.1"
- body-parser: "npm:1.20.2"
+ body-parser: "npm:1.20.3"
content-disposition: "npm:0.5.4"
content-type: "npm:~1.0.4"
cookie: "npm:0.6.0"
cookie-signature: "npm:1.0.6"
debug: "npm:2.6.9"
depd: "npm:2.0.0"
- encodeurl: "npm:~1.0.2"
+ encodeurl: "npm:~2.0.0"
escape-html: "npm:~1.0.3"
etag: "npm:~1.8.1"
finalhandler: "npm:1.2.0"
fresh: "npm:0.5.2"
http-errors: "npm:2.0.0"
- merge-descriptors: "npm:1.0.1"
+ merge-descriptors: "npm:1.0.3"
methods: "npm:~1.1.2"
on-finished: "npm:2.4.1"
parseurl: "npm:~1.3.3"
- path-to-regexp: "npm:0.1.7"
+ path-to-regexp: "npm:0.1.10"
proxy-addr: "npm:~2.0.7"
qs: "npm:6.11.0"
range-parser: "npm:~1.2.1"
safe-buffer: "npm:5.2.1"
- send: "npm:0.18.0"
- serve-static: "npm:1.15.0"
+ send: "npm:0.19.0"
+ serve-static: "npm:1.16.0"
setprototypeof: "npm:1.2.0"
statuses: "npm:2.0.1"
type-is: "npm:~1.6.18"
utils-merge: "npm:1.0.1"
vary: "npm:~1.1.2"
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+"fdir@npm:^6.4.0":
+ version: 6.4.0
+ resolution: "fdir@npm:6.4.0"
+ peerDependencies:
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+ peerDependenciesMeta:
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+ optional: true
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+
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resolution: "fetch-blob@npm:3.2.0"
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resolution: "get-pkg-repo@npm:4.2.1"
dependencies:
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- resolution: "git-raw-commits@npm:2.0.11"
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- lodash: "npm:^4.17.15"
- meow: "npm:^8.0.0"
- split2: "npm:^3.0.0"
- through2: "npm:^4.0.0"
- bin:
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resolution: "git-raw-commits@npm:3.0.0"
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- resolution: "git-semver-tags@npm:4.1.1"
- dependencies:
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- semver: "npm:^6.0.0"
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resolution: "git-semver-tags@npm:5.0.1"
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resolution: "glob@npm:10.4.1"
dependencies:
@@ -9971,6 +10529,22 @@ __metadata:
languageName: node
linkType: hard
+"glob@npm:^11.0.0":
+ version: 11.0.0
+ resolution: "glob@npm:11.0.0"
+ dependencies:
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+ jackspeak: "npm:^4.0.1"
+ minimatch: "npm:^10.0.0"
+ minipass: "npm:^7.1.2"
+ package-json-from-dist: "npm:^1.0.0"
+ path-scurry: "npm:^2.0.0"
+ bin:
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+ languageName: node
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resolution: "glob@npm:7.2.3"
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resolution: "http-proxy-agent@npm:7.0.2"
dependencies:
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- resolution: "http-proxy-middleware@npm:3.0.0"
+"http-proxy-middleware@npm:3.0.3":
+ version: 3.0.3
+ resolution: "http-proxy-middleware@npm:3.0.3"
dependencies:
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- debug: "npm:^4.3.4"
+ "@types/http-proxy": "npm:^1.17.15"
+ debug: "npm:^4.3.6"
http-proxy: "npm:^1.18.1"
- is-glob: "npm:^4.0.1"
- is-plain-obj: "npm:^3.0.0"
- micromatch: "npm:^4.0.5"
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+ is-glob: "npm:^4.0.3"
+ is-plain-object: "npm:^5.0.0"
+ micromatch: "npm:^4.0.8"
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languageName: node
linkType: hard
"http-proxy-middleware@npm:^2.0.3":
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- resolution: "http-proxy-middleware@npm:2.0.6"
+ version: 2.0.7
+ resolution: "http-proxy-middleware@npm:2.0.7"
dependencies:
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http-proxy: "npm:^1.18.1"
@@ -10402,7 +10976,7 @@ __metadata:
peerDependenciesMeta:
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optional: true
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resolution: "https-proxy-agent@npm:7.0.5"
dependencies:
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resolution: "https-proxy-agent@npm:7.0.4"
dependencies:
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languageName: node
linkType: hard
-"husky@npm:^9.1.4":
- version: 9.1.4
- resolution: "husky@npm:9.1.4"
+"husky@npm:^9.1.6":
+ version: 9.1.6
+ resolution: "husky@npm:9.1.6"
bin:
husky: bin.js
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linkType: hard
-"i18next@npm:^23.11.5":
- version: 23.11.5
- resolution: "i18next@npm:23.11.5"
+"i18next@npm:^23.16.0":
+ version: 23.16.0
+ resolution: "i18next@npm:23.16.0"
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- resolution: "tiny-inflate@npm:1.0.3"
- checksum: 10c0/fab687537254f6ec44c9a2e880048fe70da3542aba28f73cda3e74c95cabf342a339372f2a6c032e322324f01accc03ca26c04ba2bad9b3eb8cf3ee99bba7f9b
+"tinyexec@npm:^0.3.0":
+ version: 0.3.0
+ resolution: "tinyexec@npm:0.3.0"
+ checksum: 10c0/138a4f4241aea6b6312559508468ab275a31955e66e2f57ed206e0aaabecee622624f208c5740345f0a66e33478fd065e359ed1eb1269eb6fd4fa25d44d0ba3b
+ languageName: node
+ linkType: hard
+
+"tinyglobby@npm:^0.2.9":
+ version: 0.2.9
+ resolution: "tinyglobby@npm:0.2.9"
+ dependencies:
+ fdir: "npm:^6.4.0"
+ picomatch: "npm:^4.0.2"
+ checksum: 10c0/f65f847afe70f56de069d4f1f9c3b0c1a76aaf2b0297656754734a83b9bac8e105b5534dfbea8599560476b88f7b747d0855370a957a07246d18b976addb87ec
languageName: node
linkType: hard
@@ -16044,7 +16707,7 @@ __metadata:
languageName: node
linkType: hard
-"tough-cookie@npm:^4.1.3":
+"tough-cookie@npm:^4.1.4":
version: 4.1.4
resolution: "tough-cookie@npm:4.1.4"
dependencies:
@@ -16065,17 +16728,6 @@ __metadata:
languageName: node
linkType: hard
-"traverse@npm:^0.6.9":
- version: 0.6.9
- resolution: "traverse@npm:0.6.9"
- dependencies:
- gopd: "npm:^1.0.1"
- typedarray.prototype.slice: "npm:^1.0.3"
- which-typed-array: "npm:^1.1.15"
- checksum: 10c0/6809ef684b04cd6985a4470f93bf794ad417f04bb1c43a6b1166fe1c94506118c7a7a87c34545fe15918f4e1fe29ced7a5813d8455932042f4ccc5981634139d
- languageName: node
- linkType: hard
-
"tree-dump@npm:^1.0.0":
version: 1.0.1
resolution: "tree-dump@npm:1.0.1"
@@ -16119,13 +16771,13 @@ __metadata:
languageName: node
linkType: hard
-"ts-morph@npm:^22.0.0":
- version: 22.0.0
- resolution: "ts-morph@npm:22.0.0"
+"ts-morph@npm:^24.0.0":
+ version: 24.0.0
+ resolution: "ts-morph@npm:24.0.0"
dependencies:
- "@ts-morph/common": "npm:~0.23.0"
- code-block-writer: "npm:^13.0.1"
- checksum: 10c0/0275606effaa24f6d8ad3ee9df3bb37c0330be002682f9e9157462b38b949e00fb81e0df20f571e08a0bd06107922eb35022bad5e2fb48ca89fda4299140b5de
+ "@ts-morph/common": "npm:~0.25.0"
+ code-block-writer: "npm:^13.0.3"
+ checksum: 10c0/2a0813ba428a154966d4038901f6c32457a60870936b23778f2629433257f87d1881fc4ecae7b791a223a88c2edf96aaac9fb0f88bf34d3c652af8c09c4f43bc
languageName: node
linkType: hard
@@ -16148,6 +16800,13 @@ __metadata:
languageName: node
linkType: hard
+"tslib@npm:^2.7.0":
+ version: 2.7.0
+ resolution: "tslib@npm:2.7.0"
+ checksum: 10c0/469e1d5bf1af585742128827000711efa61010b699cb040ab1800bcd3ccdd37f63ec30642c9e07c4439c1db6e46345582614275daca3e0f4abae29b0083f04a6
+ languageName: node
+ linkType: hard
+
"tuf-js@npm:^2.2.1":
version: 2.2.1
resolution: "tuf-js@npm:2.2.1"
@@ -16281,20 +16940,6 @@ __metadata:
languageName: node
linkType: hard
-"typedarray.prototype.slice@npm:^1.0.3":
- version: 1.0.3
- resolution: "typedarray.prototype.slice@npm:1.0.3"
- dependencies:
- call-bind: "npm:^1.0.7"
- define-properties: "npm:^1.2.1"
- es-abstract: "npm:^1.23.0"
- es-errors: "npm:^1.3.0"
- typed-array-buffer: "npm:^1.0.2"
- typed-array-byte-offset: "npm:^1.0.2"
- checksum: 10c0/6ac110a8b58a1ccb086242f09d1ce9c7ba2885924e816364a7879083b983d4096f19aab6f9aa8c0ce5ddd3d8ae3f3ba5581e10fa6838880f296a0c54c26f424b
- languageName: node
- linkType: hard
-
"typedarray@npm:^0.0.6":
version: 0.0.6
resolution: "typedarray@npm:0.0.6"
@@ -16424,16 +17069,6 @@ __metadata:
languageName: node
linkType: hard
-"unicode-properties@npm:^1.2.2":
- version: 1.4.1
- resolution: "unicode-properties@npm:1.4.1"
- dependencies:
- base64-js: "npm:^1.3.0"
- unicode-trie: "npm:^2.0.0"
- checksum: 10c0/1d140b7945664fb0ef53de955170821e077b949eef377c6e4905902f07e339039271bfa2a005e4f4c6074b080d3420b486c52dc905e11f924949a04d1fb47ffd
- languageName: node
- linkType: hard
-
"unicode-property-aliases-ecmascript@npm:^2.0.0":
version: 2.1.0
resolution: "unicode-property-aliases-ecmascript@npm:2.1.0"
@@ -16441,16 +17076,6 @@ __metadata:
languageName: node
linkType: hard
-"unicode-trie@npm:^2.0.0":
- version: 2.0.0
- resolution: "unicode-trie@npm:2.0.0"
- dependencies:
- pako: "npm:^0.2.5"
- tiny-inflate: "npm:^1.0.0"
- checksum: 10c0/2422368645249f315640a1c9e9506046aa7738fc9c5d59e15c207cdd6ec66101c35b0b9f75dc3ac28fe7be19aaf1efc898bbea074fa1e8e295ef736aeb7904bb
- languageName: node
- linkType: hard
-
"unicorn-magic@npm:^0.1.0":
version: 0.1.0
resolution: "unicorn-magic@npm:0.1.0"
@@ -16590,6 +17215,15 @@ __metadata:
languageName: node
linkType: hard
+"uuid@npm:^10.0.0":
+ version: 10.0.0
+ resolution: "uuid@npm:10.0.0"
+ bin:
+ uuid: dist/bin/uuid
+ checksum: 10c0/eab18c27fe4ab9fb9709a5d5f40119b45f2ec8314f8d4cf12ce27e4c6f4ffa4a6321dc7db6c515068fa373c075b49691ba969f0010bf37f44c37ca40cd6bf7fe
+ languageName: node
+ linkType: hard
+
"uuid@npm:^2.0.1":
version: 2.0.3
resolution: "uuid@npm:2.0.3"
@@ -16606,15 +17240,6 @@ __metadata:
languageName: node
linkType: hard
-"uuid@npm:^9.0.1":
- version: 9.0.1
- resolution: "uuid@npm:9.0.1"
- bin:
- uuid: dist/bin/uuid
- checksum: 10c0/1607dd32ac7fc22f2d8f77051e6a64845c9bce5cd3dd8aa0070c074ec73e666a1f63c7b4e0f4bf2bc8b9d59dc85a15e17807446d9d2b17c8485fbc2147b27f9b
- languageName: node
- linkType: hard
-
"validate-npm-package-license@npm:^3.0.1, validate-npm-package-license@npm:^3.0.4":
version: 3.0.4
resolution: "validate-npm-package-license@npm:3.0.4"
@@ -16652,14 +17277,14 @@ __metadata:
languageName: node
linkType: hard
-"vite@npm:5.4.0":
- version: 5.4.0
- resolution: "vite@npm:5.4.0"
+"vite@npm:5.4.6":
+ version: 5.4.6
+ resolution: "vite@npm:5.4.6"
dependencies:
esbuild: "npm:^0.21.3"
fsevents: "npm:~2.3.3"
- postcss: "npm:^8.4.40"
- rollup: "npm:^4.13.0"
+ postcss: "npm:^8.4.43"
+ rollup: "npm:^4.20.0"
peerDependencies:
"@types/node": ^18.0.0 || >=20.0.0
less: "*"
@@ -16691,7 +17316,7 @@ __metadata:
optional: true
bin:
vite: bin/vite.js
- checksum: 10c0/122de7795e1c3c08cd0acc7d77296f908398266b424492be7310400107f37a3cf4c9506f2b4b16619e57299ca2859b8ca187aac5e25f8e66d84f9204a1d72d18
+ checksum: 10c0/5f87be3a10e970eaf9ac52dfab39cf9fff583036685252fb64570b6d7bfa749f6d221fb78058f5ef4b5664c180d45a8e7a7ff68d7f3770e69e24c7c68b958bde
languageName: node
linkType: hard
@@ -16789,9 +17414,9 @@ __metadata:
languageName: node
linkType: hard
-"webpack-dev-middleware@npm:7.3.0":
- version: 7.3.0
- resolution: "webpack-dev-middleware@npm:7.3.0"
+"webpack-dev-middleware@npm:7.4.2":
+ version: 7.4.2
+ resolution: "webpack-dev-middleware@npm:7.4.2"
dependencies:
colorette: "npm:^2.0.10"
memfs: "npm:^4.6.0"
@@ -16804,7 +17429,7 @@ __metadata:
peerDependenciesMeta:
webpack:
optional: true
- checksum: 10c0/03d34e1c7af3af8c98efe754ce6cfb9fe84a1f02d312bc37a77f55b8ae9525bc3ac913fc92c0143ab93a3a6377781661f07336031fcd5e6bbddccc11df9345db
+ checksum: 10c0/2aa873ef57a7095d7fba09400737b6066adc3ded229fd6eba89a666f463c2614c68e01ae58f662c9cdd74f0c8da088523d972329bf4a054e470bc94feb8bcad0
languageName: node
linkType: hard
@@ -16907,11 +17532,10 @@ __metadata:
languageName: node
linkType: hard
-"webpack@npm:5.93.0":
- version: 5.93.0
- resolution: "webpack@npm:5.93.0"
+"webpack@npm:5.94.0":
+ version: 5.94.0
+ resolution: "webpack@npm:5.94.0"
dependencies:
- "@types/eslint-scope": "npm:^3.7.3"
"@types/estree": "npm:^1.0.5"
"@webassemblyjs/ast": "npm:^1.12.1"
"@webassemblyjs/wasm-edit": "npm:^1.12.1"
@@ -16920,7 +17544,7 @@ __metadata:
acorn-import-attributes: "npm:^1.9.5"
browserslist: "npm:^4.21.10"
chrome-trace-event: "npm:^1.0.2"
- enhanced-resolve: "npm:^5.17.0"
+ enhanced-resolve: "npm:^5.17.1"
es-module-lexer: "npm:^1.2.1"
eslint-scope: "npm:5.1.1"
events: "npm:^3.2.0"
@@ -16940,7 +17564,7 @@ __metadata:
optional: true
bin:
webpack: bin/webpack.js
- checksum: 10c0/f0c72f1325ff57a4cc461bb978e6e1296f2a7d45c9765965271aa686ccdd448512956f4d7fdcf8c164d073af046c5a0aba17ce85ea98e33e5e2bfbfe13aa5808
+ checksum: 10c0/b4d1b751f634079bd177a89eef84d80fa5bb8d6fc15d72ab40fc2b9ca5167a79b56585e1a849e9e27e259803ee5c4365cb719e54af70a43c06358ec268ff4ebf
languageName: node
linkType: hard
@@ -17179,6 +17803,21 @@ __metadata:
languageName: node
linkType: hard
+"ws@npm:^8.18.0":
+ version: 8.18.0
+ resolution: "ws@npm:8.18.0"
+ peerDependencies:
+ bufferutil: ^4.0.1
+ utf-8-validate: ">=5.0.2"
+ peerDependenciesMeta:
+ bufferutil:
+ optional: true
+ utf-8-validate:
+ optional: true
+ checksum: 10c0/25eb33aff17edcb90721ed6b0eb250976328533ad3cd1a28a274bd263682e7296a6591ff1436d6cbc50fa67463158b062f9d1122013b361cec99a05f84680e06
+ languageName: node
+ linkType: hard
+
"ws@npm:~8.11.0":
version: 8.11.0
resolution: "ws@npm:8.11.0"
@@ -17215,15 +17854,6 @@ __metadata:
languageName: node
linkType: hard
-"xmldoc@npm:^1.1.2":
- version: 1.3.0
- resolution: "xmldoc@npm:1.3.0"
- dependencies:
- sax: "npm:^1.2.4"
- checksum: 10c0/7957c57ff77008ced62063560d3e8f80c7fdf31d3fafa12d16c9f1fe676c8255f50889e8f41b61cca4cd473b841eedf2625089dcaf3f6b8717df521b9d0acfcf
- languageName: node
- linkType: hard
-
"xtend@npm:~4.0.1":
version: 4.0.2
resolution: "xtend@npm:4.0.2"
@@ -17335,13 +17965,6 @@ __metadata:
languageName: node
linkType: hard
-"zepto@npm:^1.2.0":
- version: 1.2.0
- resolution: "zepto@npm:1.2.0"
- checksum: 10c0/e17e4d47ee27e79ea86ccad9d35a67ebeb7715adf5ae6f7c9b92ede8aa4d04a33ae40949c9931c15b95a8aec0d675d510da2b097c866a325771f9d3efbcf658d
- languageName: node
- linkType: hard
-
"zone.js@npm:~0.14.10":
version: 0.14.10
resolution: "zone.js@npm:0.14.10"
+
{{ editionInfoHeader }}
◇
{{ editionInfoHeader }}
{{ editionRouteConstants.SERIES.full }}{{ + editionRouteConstants.SERIES.full + }}
{{ editionRouteConstants.ROWTABLES.full }}{{ + editionRouteConstants.ROWTABLES.full + }}
{{ editionRouteConstants.PREFACE.full }}{{ + editionRouteConstants.PREFACE.full + }}
-
-
- ({{ editionTypeConstants.SKETCH_EDITION.full }}
- @if (editionComplex.complexId.route.includes('op25')) {
- &
+
+ @for (section of DISPLAYED_SECTIONS; track $index) {
+
{{ editionRouteConstants.EDITION_GRAPH.short }} + > +
+ } + + @if (combineComplexes(section).length > 0) { + @for ( + editionComplex of combineComplexes(section); + track editionComplex.complex.complexId.short + ) { +
+
+ @if (editionComplex.disabled) {
+
+
-
-
- ({{ editionTypeConstants.SKETCH_EDITION.full }}
- )
-
Empfohlene Zitierweisen:
- -Website:
-- {{ pageMetaData.awgProjectName }}. Projekt-Website: - {{ pageMetaData?.awgProjectUrl }} , abgerufen am - {{ today | date: dateFormat }}. -
- -Online-Edition:
-- {{ pageMetaData.awgProjectName }}. Online-Edition (Version - {{ pageMetaData?.version }} vom - {{ pageMetaData?.versionReleaseDate }}): {{ pageMetaData?.awgAppUrl }} , abgerufen am - {{ today | date: dateFormat }}. -
-
- GitHub:
- Repository unter:
-
- {{ pageMetaData?.githubUrl }}
-
-
- Compodoc:
- Dokumentation von Struktur und Funktionalitäten der Angular App:
- awg-app documentation
-
- Herausgeber:
- {{ pageMetaData.awgProjectName }}
- {{ contactMetaData.address.institution }}
- {{ contactMetaData.address.street }}
- {{ contactMetaData.address.postalCode }} {{ contactMetaData.address.city }}
- {{ contactMetaData.address.country }}
-
- Konzept:
- {{ pageMetaData.awgProjectName }}
-
- Texte/Inhalte:
- Die Verantwortung für die Inhalte der Website liegt bei der {{ pageMetaData.awgProjectName }}. Bei inhaltlichen
- Fragen wenden Sie sich bitte an die unter Kontakt angegebene Adresse.
-
- Materialien, Notentexte und Bilder (vgl. Lizenzierung):
- Digitales Archiv der {{ pageMetaData.awgProjectName }}
- Online-Edition der {{ pageMetaData.awgProjectName }}
-
- Programmierung & Webdesign:
- Stefan Münnich
- Wissenschaftlicher Mitarbeiter der {{ pageMetaData.awgProjectName }}, Basel
stefan.muennich [at] unibas [dot] ch
-
Disclaimer/Haftungserklärung:
Urheberrecht und Lizenzierung:
-- Sämtliche im Rahmen der {{ pageMetaData.awgProjectName }} erarbeiteten und auf ihrer Website oder ihrer - Online-Edition veröffentlichten Inhalte sowie auch alle Inhalte, die von der Website oder der Online-Edition der - Anton Webern Gesamtausgabe aus auf der DaSCH Service Platform (DSP)/SALSAH (Projektbereich der Anton Webern - Gesamtausgabe) für den Nutzer zugänglich sind, sind urheberrechtlich geschützt und werden – sofern nicht anders - deklariert – zu den Bedingungen der Creative Commons-Lizenz „Namensnennung – Weitergabe unter gleichen - Bedingungen 4.0 International" (CC BY-SA-4.0) zur Verfügung gestellt. Jede davon abweichende Verwertung bedarf der vorherigen schriftlichen Zustimmung - durch den jeweiligen Rechteinhaber. Allfällige Bewilligungsgesuche sind an die - {{ pageMetaData.awgProjectName }} zu richten (Kontakt). Alle Rechte an zugänglich gemachten externen - Bildinhalten verbleiben bei den Privateigentümern bzw. den archivierenden Institutionen, bei denen die Rechte - für eine allfällige Weiterverwendung einzuholen sind. -
- -- Der Software-Code dieses Prototyps wird auf - GitHub unter einer - MIT-Lizenz zur Verfügung gestellt. -
- -Externe Links:
-- Die {{ pageMetaData.awgProjectName }} hat keinen Einfluss auf und übernimmt keine Verantwortung für die Inhalte - der von ihrer Website, von ihrer Online-Edition oder von der DaSCH Service Platform (DSP)/SALSAH (Projektbereich - der {{ pageMetaData.awgProjectName }}) aus verlinkten externen Internetseiten. Eine Prüfung bei der Verlinkung - ergab keine strafbaren Inhalte auf diesen Seiten. Alle Linkangaben sind ohne Gewähr. Seitenaufrufe externer - Seiten über diese Links erfolgen auf eigene Gefahr. Dies gilt für alle Links auf der Website und der - Online-Edition der {{ pageMetaData.awgProjectName }} sowie auf der DaSCH Service Platform (DSP)/SALSAH - (Projektbereich der Anton Webern Gesamtausgabe). -
- -Haftungserklärung:
-- Die {{ pageMetaData.awgProjectName }} bemüht sich um richtige und aktualisierte Informationen auf ihrer Website - und ihrer Online-Edition, übernimmt jedoch keinerlei Garantien oder Zusicherungen betreffend der Vollständigkeit - der auf dieser enthaltenen bzw. referenzierten Informationen. Prinzipiell erfolgen Zugang, Benutzung und - Inanspruchnahme der Dienstleistungen der Website der {{ pageMetaData.awgProjectName }} ausschließlich auf - eigenes Risiko des Nutzers. Weder die Gesamtausgabe noch eine von ihr beigezogene, in Herstellung, - Informationseingabe und Informationsvermittlung der Website involvierte Hilfsperson sind in irgendeiner Form - haftbar für etwaige Schäden, die im Zusammenhang mit Zugang, Benutzung oder möglichen Störungen beim Gebrauch - der Website auftreten könnten. -
- -Google Analytics:
-- Die {{ pageMetaData.awgProjectName }} setzt auf Grundlage ihrer berechtigten Interessen (d.h. Interesse an der - Analyse und Optimierung unseres Onlineangebotes im Sinne des Art. - 6 Abs. 1 lit. f. DSGVO) Google Analytics, einen - Webanalysedienst der Google LLC („Google“) ein. Google verwendet Cookies. Die durch das Cookie erzeugten - Informationen über Benutzung des Onlineangebotes durch die Nutzer werden in der Regel an einen Server von Google - in den USA übertragen und dort gespeichert. -
- -- Google ist unter dem Privacy-Shield-Abkommen zertifiziert und bietet hierdurch eine Garantie, das europäische - Datenschutzrecht einzuhalten (https://www.privacyshield.gov/participant?id=a2zt000000001L5AAI&status=Active). -
- -- Google wird diese Informationen in unserem Auftrag benutzen, um die Nutzung unseres Onlineangebotes durch die - Nutzer auszuwerten, um Reports über die Aktivitäten innerhalb dieses Onlineangebotes zusammenzustellen und um - weitere, mit der Nutzung dieses Onlineangebotes und der Internetnutzung verbundene Dienstleistungen, uns - gegenüber zu erbringen. Dabei können aus den verarbeiteten Daten pseudonyme Nutzungsprofile der Nutzer erstellt - werden. -
- -- Die {{ pageMetaData.awgProjectName }} setzt Google Analytics nur mit aktivierter IP-Anonymisierung ein. Das - bedeutet, die IP-Adresse der Nutzer wird von Google innerhalb von Mitgliedstaaten der Europäischen Union oder in - anderen Vertragsstaaten des Abkommens über den Europäischen Wirtschaftsraum gekürzt. Nur in Ausnahmefällen wird - die volle IP-Adresse an einen Server von Google in den USA übertragen und dort gekürzt. -
- -- Die von dem Browser des Nutzers übermittelte IP-Adresse wird nicht mit anderen Daten von Google zusammengeführt. - Die Nutzer können die Speicherung der Cookies durch eine entsprechende Einstellung ihrer Browser-Software - verhindern; die Nutzer können darüber hinaus die Erfassung der durch das Cookie erzeugten und auf ihre Nutzung - des Onlineangebotes bezogenen Daten an Google sowie die Verarbeitung dieser Daten durch Google verhindern, indem - sie das unter folgendem Link verfügbare Browser-Plugin herunterladen und installieren: - https://tools.google.com/dlpage/gaoptout?hl=de. -
- -- Weitere Informationen zur Datennutzung durch Google, Einstellungs- und Widerspruchsmöglichkeiten, erfahren Sie - in der Datenschutzerklärung von Google (https://policies.google.com/technologies/ads) sowie in den Einstellungen für die Darstellung von Werbeeinblendungen durch Google (https://adssettings.google.com/authenticated). -
- -Die personenbezogenen Daten der Nutzer werden nach 14 Monaten gelöscht.
- -- [Erstellt mit Datenschutz-Generator.de von RA Dr. Thomas Schwenke; vom Websiteinhaber angepasst] -
+Empfohlene Zitierweisen:
+ +Website:
++ {{ pageMetaData.awgProjectName }}. Projekt-Website: + {{ pageMetaData?.awgProjectUrl }} , abgerufen am + {{ today | date: dateFormat }}. +
+ +Online-Edition:
++ {{ pageMetaData.awgProjectName }}. Online-Edition (Version + {{ pageMetaData?.version }} vom + {{ pageMetaData?.versionReleaseDate }}): {{ pageMetaData?.awgAppUrl }} , abgerufen am + {{ today | date: dateFormat }}. +
+
+ GitHub:
+ Repository unter:
+
+ {{ pageMetaData?.githubUrl }}
+
+
+ Compodoc:
+ Dokumentation von Struktur und Funktionalitäten der Angular App:
+ AWG-APP documentation
+
+ Herausgeber:
+ {{ pageMetaData.awgProjectName }}
+ {{ contactMetaData.address.institution }}
+ {{ contactMetaData.address.street }}
+ {{ contactMetaData.address.postalCode }} {{ contactMetaData.address.city }}
+ {{ contactMetaData.address.country }}
+
+ Konzept:
+ {{ pageMetaData.awgProjectName }}
+
+ Texte/Inhalte:
+ Die Verantwortung für die Inhalte der Website liegt bei der {{ pageMetaData.awgProjectName }}. Bei
+ inhaltlichen Fragen wenden Sie sich bitte an die unter Kontakt angegebene Adresse.
+
+ Materialien, Notentexte und Bilder (vgl. Lizenzierung):
+ Digitales Archiv der {{ pageMetaData.awgProjectName }}
+ Online-Edition der {{ pageMetaData.awgProjectName }}
+
+ Programmierung & Webdesign:
+ Stefan Münnich
+ Wissenschaftlicher Mitarbeiter der {{ pageMetaData.awgProjectName }}, Basel
stefan.muennich [at] unibas [dot] ch
+
Disclaimer/Haftungserklärung:
Urheberrecht und Lizenzierung:
++ Sämtliche im Rahmen der {{ pageMetaData.awgProjectName }} erarbeiteten und auf ihrer Website oder ihrer + Online-Edition veröffentlichten Inhalte sowie auch alle Inhalte, die von der Website oder der Online-Edition + der Anton Webern Gesamtausgabe aus auf der DaSCH Service Platform (DSP)/SALSAH (Projektbereich der Anton + Webern Gesamtausgabe) für den Nutzer zugänglich sind, sind urheberrechtlich geschützt und werden – sofern + nicht anders deklariert – zu den Bedingungen der Creative Commons-Lizenz „Namensnennung – Weitergabe unter + gleichen Bedingungen 4.0 International" (CC BY-SA-4.0) zur Verfügung gestellt. Jede davon abweichende Verwertung bedarf der vorherigen schriftlichen Zustimmung + durch den jeweiligen Rechteinhaber. Allfällige Bewilligungsgesuche sind an die + {{ pageMetaData.awgProjectName }} zu richten (Kontakt). Alle Rechte an zugänglich gemachten externen + Bildinhalten verbleiben bei den Privateigentümern bzw. den archivierenden Institutionen, bei denen die + Rechte für eine allfällige Weiterverwendung einzuholen sind. +
+ ++ Der Software-Code der Online-Edition wird auf + GitHub unter einer + MIT-Lizenz zur Verfügung gestellt. +
+ +Externe Links:
++ Die {{ pageMetaData.awgProjectName }} hat keinen Einfluss auf und übernimmt keine Verantwortung für die + Inhalte der von ihrer Website, von ihrer Online-Edition oder von der DaSCH Service Platform (DSP)/SALSAH + (Projektbereich der {{ pageMetaData.awgProjectName }}) aus verlinkten externen Internetseiten. Eine Prüfung + bei der Verlinkung ergab keine strafbaren Inhalte auf diesen Seiten. Alle Linkangaben sind ohne Gewähr. + Seitenaufrufe externer Seiten über diese Links erfolgen auf eigene Gefahr. Dies gilt für alle Links auf der + Website und der Online-Edition der {{ pageMetaData.awgProjectName }} sowie auf der DaSCH Service Platform + (DSP)/SALSAH (Projektbereich der Anton Webern Gesamtausgabe). +
+ +Haftungserklärung:
++ Die {{ pageMetaData.awgProjectName }} bemüht sich um richtige und aktualisierte Informationen auf ihrer + Website und ihrer Online-Edition, übernimmt jedoch keinerlei Garantien oder Zusicherungen betreffend der + Vollständigkeit der auf dieser enthaltenen bzw. referenzierten Informationen. Prinzipiell erfolgen Zugang, + Benutzung und Inanspruchnahme der Dienstleistungen der Website der + {{ pageMetaData.awgProjectName }} ausschließlich auf eigenes Risiko des Nutzers. Weder die Gesamtausgabe + noch eine von ihr beigezogene, in Herstellung, Informationseingabe und Informationsvermittlung der Website + involvierte Hilfsperson sind in irgendeiner Form haftbar für etwaige Schäden, die im Zusammenhang mit + Zugang, Benutzung oder möglichen Störungen beim Gebrauch der Website auftreten könnten. +
+ +Google Analytics:
++ Die {{ pageMetaData.awgProjectName }} setzt auf Grundlage ihrer berechtigten Interessen (d.h. Interesse an + der Analyse und Optimierung unseres Onlineangebotes im Sinne des Art. + 6 Abs. 1 lit. f. DSGVO) Google Analytics, einen + Webanalysedienst der Google LLC („Google“) ein. Google verwendet Cookies. Die durch das Cookie erzeugten + Informationen über Benutzung des Onlineangebotes durch die Nutzer werden in der Regel an einen Server von + Google in den USA übertragen und dort gespeichert. +
+ ++ Google ist unter dem Privacy-Shield-Abkommen zertifiziert und bietet hierdurch eine Garantie, das + europäische Datenschutzrecht einzuhalten (https://www.privacyshield.gov/participant?id=a2zt000000001L5AAI&status=Active). +
+ ++ Google wird diese Informationen in unserem Auftrag benutzen, um die Nutzung unseres Onlineangebotes durch + die Nutzer auszuwerten, um Reports über die Aktivitäten innerhalb dieses Onlineangebotes zusammenzustellen + und um weitere, mit der Nutzung dieses Onlineangebotes und der Internetnutzung verbundene Dienstleistungen, + uns gegenüber zu erbringen. Dabei können aus den verarbeiteten Daten pseudonyme Nutzungsprofile der Nutzer + erstellt werden. +
+ ++ Die {{ pageMetaData.awgProjectName }} setzt Google Analytics nur mit aktivierter IP-Anonymisierung ein. Das + bedeutet, die IP-Adresse der Nutzer wird von Google innerhalb von Mitgliedstaaten der Europäischen Union + oder in anderen Vertragsstaaten des Abkommens über den Europäischen Wirtschaftsraum gekürzt. Nur in + Ausnahmefällen wird die volle IP-Adresse an einen Server von Google in den USA übertragen und dort gekürzt. +
+ ++ Die von dem Browser des Nutzers übermittelte IP-Adresse wird nicht mit anderen Daten von Google + zusammengeführt. Die Nutzer können die Speicherung der Cookies durch eine entsprechende Einstellung ihrer + Browser-Software verhindern; die Nutzer können darüber hinaus die Erfassung der durch das Cookie erzeugten + und auf ihre Nutzung des Onlineangebotes bezogenen Daten an Google sowie die Verarbeitung dieser Daten durch + Google verhindern, indem sie das unter folgendem Link verfügbare Browser-Plugin herunterladen und + installieren: + https://tools.google.com/dlpage/gaoptout?hl=de. +
+ ++ Weitere Informationen zur Datennutzung durch Google, Einstellungs- und Widerspruchsmöglichkeiten, erfahren + Sie in der Datenschutzerklärung von Google (https://policies.google.com/technologies/ads) sowie in den Einstellungen für die Darstellung von Werbeeinblendungen durch Google (https://adssettings.google.com/authenticated). +
+ +Die personenbezogenen Daten der Nutzer werden nach 14 Monaten gelöscht.
+ ++ [Erstellt mit Datenschutz-Generator.de von RA Dr. Thomas Schwenke; vom Websiteinhaber angepasst] +
+- +
{{ navItemLabel }}:
- @if (!utils.isNotEmptyArray(svgSheets)) {
+ @if (navItemLabel === 'Werkeditionen') {
+
diff --git a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.spec.ts b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.spec.ts
index bffafe91b9..b2af1f259d 100644
--- a/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.spec.ts
+++ b/src/app/views/edition-view/edition-outlets/edition-complex/edition-detail/edition-sheets/edition-accolade/edition-svg-sheet-nav/edition-svg-sheet-nav-item/edition-svg-sheet-nav-item.component.spec.ts
@@ -1,7 +1,11 @@
-import { DebugElement } from '@angular/core';
+import { DebugElement, NgModule } from '@angular/core';
import { ComponentFixture, fakeAsync, TestBed, waitForAsync } from '@angular/core/testing';
import Spy = jasmine.Spy;
+import { IconDefinition } from '@fortawesome/angular-fontawesome';
+import { FontAwesomeTestingModule } from '@fortawesome/angular-fontawesome/testing';
+import { faCalendarXmark } from '@fortawesome/free-solid-svg-icons';
+
import { clickAndAwaitChanges } from '@testing/click-helper';
import { detectChangesOnPush } from '@testing/detect-changes-on-push-helper';
import {
@@ -15,6 +19,7 @@ import { mockEditionData } from '@testing/mock-data';
import { EditionSvgSheet } from '@awg-views/edition-view/models';
+import { NgbConfig, NgbPopoverModule } from '@ng-bootstrap/ng-bootstrap';
import { EditionSvgSheetNavItemComponent } from './edition-svg-sheet-nav-item.component';
describe('EditionSvgSheetNavItemComponent (DONE)', () => {
@@ -22,7 +27,12 @@ describe('EditionSvgSheetNavItemComponent (DONE)', () => {
let fixture: ComponentFixture+ +
+{{ selectedSection?.content?.intro.preview }} …
+nach Opusnummer:
+nach Moldenhauer-Nummer:
+nach Opusnummer:
-nach Moldenhauer-Nummer:
-- [Diese Inhalte erscheinen im Zusammenhang der vollständigen Edition von AWG - {{ selectedSeries?.series.short }}/{{ selectedSection?.section.short }}.] -
-- {{ section.section.full }} -
-+ {{ section.section.full }} +
+- {{ series.series.full }} -
--
- @for (section of series.sections; track $index) {
-
- - @if (!section.disabled) { - {{ - section.section.full - }} - } @else { - {{ section.section.full }} - } - - } -
-
- {{ editionRouteConstants.EDITION?.short }}
-
-
- @if (selectedEditionSeries$ | async; as selectedSeries) {
-
- {{ selectedSeries?.series.full }}
-
-
-
-
-
-
@@ -101,6 +56,8 @@
]">
{{ selectedEditionComplex.pubStatement.section.full }}
+ /
+
+
+ {{ editionRouteConstants.EDITION?.short }}
+
+
+ @if (selectedEditionSeries$ | async; as selectedSeries) {
+
+ {{ selectedSeries?.series.full }}
+
+
+
+
+ {{ selectedSection?.section.full }}
+
+
+
+
+
+ {{ cardData.title }}
+{{ cardData.text }}
+- {{ editionRouteConstants.EDITION.short }} / {{ editionRouteConstants.SERIES_1.full }} / - {{ editionRouteConstants.SECTION_5.full }} -
- - @for ( - editionComplex of DISPLAYED_EDITION_COMPLEXES | slice: 0 : SLICE_INDEX; - track editionComplex.complexId.short - ) { -
- ({{ editionTypeConstants.SKETCH_EDITION.full }}
- @if (editionComplex.complexId.route.includes('op25')) {
- &
- {{
- editionRouteConstants.EDITION_GRAPH.short
- }}
+
+ @for (cardData of homeViewCardData; track $index) {
+
+
- {{ editionRouteConstants.EDITION.short }} / {{ editionRouteConstants.SERIES_2.full }} /
- {{ editionRouteConstants.SECTION_2A.full }}
-
+
- @for (
- editionComplex of DISPLAYED_EDITION_COMPLEXES | slice: SLICE_INDEX : DISPLAYED_EDITION_COMPLEXES.length;
- track editionComplex.complexId.short
- ) {
-
- ({{ editionTypeConstants.SKETCH_EDITION.full }})
-
- }
-
- {{ editionRouteConstants.EDITION.short }} / {{ editionRouteConstants.SERIES_2.full }} / - {{ editionRouteConstants.SECTION_2A.full }} -
+Willkommen bei der AWG-APP, der Online-Edition der Anton Webern Gesamtausgabe, Basel (AWG).
- -Willkommen bei der AWG-APP, dem Prototyp einer Online-Edition der Anton Webern Gesamtausgabe, Basel (AWG).
-- Die online zugänglichen Bestandteile und Datenbestände der AWG-Online-Edition werden als Open Data über diese - Webapplikation präsentiert und über das Software-Framework - DaSCH Service Platform (DSP) des - Swiss National Data & Service Center for the Humanities (DaSCH) - aufbereitet, zugänglich gehalten und langfristig aufbewahrt. Das DaSCH garantiert eine Zugänglichkeit der Daten - gemäss FAIR-Prinzipien, die Zuweisung von digitalen Identifikatoren, maschinenlesbaren Metadaten und den - langfristigen Betrieb der technischen Infrastruktur (vgl. - Mission Statement DaSCH). -
-- Der Protoyp simuliert bereits in weiten Teilen eine Datenabfrage über die Programmierschnittstelle (API) von - SALSAH (zukünftig DSP). Die für reale Abfragen im Bereich Online-Edition notwendige - Datenstruktur wird zur Zeit von der AWG implementiert. -
-- Über den Menüpunkt Edition sind ausgewählte Skizzeneditionen zu - @for ( - editionComplex of DISPLAYED_EDITION_COMPLEXES; - track editionComplex.complexId.short; - let i = $index; - let n = $count - ) { - - - @if (i < n - 2) { - , - } @else if (i === n - 2) { - und - } - } - sowie die - Reihentabellen - Weberns zugänglich. Bestandteile der Online-Edition umfassen Einleitungen, die edierten Notentexte, kritische - Berichte sowie Graph-Visualisierungen. -
-- Zusätzlich werden eine einfache Volltextsuche und eine - Erweiterte Suche in der Datenbank angeboten, über die die - dort hinterlegten Kontextmaterialien (Werklisten [nach Opuszahl bzw. Moldenhauer-Nummer], Personeninformationen, - Briefe & Supplements, Chronologie) abgefragt werden können. -
-- Bei diesem Prototyp handelt es sich um eine fortlaufende Weiterentwicklung einer - prospektiven Simulation (PDF) - vom 31. März 2015 sowie vom 29. Januar 2016. Der Programmcode ist als Open Access-Projekt frei zugänglich auf - GitHub - abgelegt und vollumfänglich - dokumentiert - (vgl. Dokumentation). -
-Der Prototyp und die Suche werden in ihrer Funktionalität sukzessiv erweitert.
++ Über den Menüpunkt Edition sind aktuell die Online-Editionen zu den Abteilungen + @for (section of DISPLAYED_SECTIONS; track $index; let i = $index; let n = $count) { + + {{ editionRouteConstants.EDITION.short }} {{ section.seriesParent.short }}/{{ + section.section.short + }} + + @if (i < n - 2) { + , + } @else if (i === n - 2) { + und + } + } + sowie die + Reihentabellen + Weberns zugänglich. Bestandteile der Online-Edition umfassen Einleitungen, die edierten Notentexte + (Text- und Skizzeneditionen), Kritische Berichte sowie Graph-Visualisierungen (beta). +
+ + + +
+ Über die (externe) Datenbank-Suche können Kontextmaterialien (Werklisten [nach Opuszahl bzw.
+ Moldenhauer-Nummer], Personeninformationen, Briefe & Supplements, Chronologie) abgefragt werden.
+
+ Über Anton Webern Gesamtausgabe gelangen Sie zur Projekt-Website.
+
+ Die online zugänglichen Bestandteile und Datenbestände der AWG-Online-Edition werden als Open Data über + diese Webapplikation präsentiert und über das Software-Framework + DaSCH Service Platform (DSP) des + Swiss National Data & Service Center for the Humanities (DaSCH) + aufbereitet, zugänglich gehalten und langfristig aufbewahrt. Das DaSCH garantiert eine Zugänglichkeit + der Daten gemäss FAIR-Prinzipien, die Zuweisung von digitalen Identifikatoren, maschinenlesbaren + Metadaten und den langfristigen Betrieb der technischen Infrastruktur (vgl. + Mission Statement DaSCH). +
+ ++ Der Programmcode der Applikation ist als Open Access-Projekt frei zugänglich auf + GitHub sowie + Zenodo abgelegt und vollumfänglich + dokumentiert. +
+{{ pageNotFoundTitle }}
- -{{ pageNotFoundSubTitle }}
+{{ pageNotFoundSubTitle }}
+
diff --git a/src/app/views/page-not-found-view/page-not-found-view.component.scss b/src/app/views/page-not-found-view/page-not-found-view.component.scss
index e69de29bb2..14eac815c5 100644
--- a/src/app/views/page-not-found-view/page-not-found-view.component.scss
+++ b/src/app/views/page-not-found-view/page-not-found-view.component.scss
@@ -0,0 +1,4 @@
+.awg-page-not-found-image > img {
+ object-fit: cover;
+ border-bottom: 1px solid var(--bs-card-border-color);
+}
diff --git a/src/app/views/page-not-found-view/page-not-found-view.component.spec.ts b/src/app/views/page-not-found-view/page-not-found-view.component.spec.ts
index 919cd2e0b1..28d37a689e 100644
--- a/src/app/views/page-not-found-view/page-not-found-view.component.spec.ts
+++ b/src/app/views/page-not-found-view/page-not-found-view.component.spec.ts
@@ -1,5 +1,5 @@
/* eslint-disable @typescript-eslint/no-unused-vars */
-import { DebugElement } from '@angular/core';
+import { Component, DebugElement, Input } from '@angular/core';
import { ComponentFixture, TestBed, waitForAsync } from '@angular/core/testing';
import { cleanStylesFromDOM } from '@testing/clean-up-helper';
@@ -15,6 +15,15 @@ import { RouterLinkStubDirective } from '@testing/router-stubs';
import { PageNotFoundViewComponent } from './page-not-found-view.component';
+// Mock components
+@Component({ selector: 'awg-heading', template: '' })
+class HeadingStubComponent {
+ @Input()
+ title: string;
+ @Input()
+ id: string;
+}
+
describe('PageNotFoundViewComponent (DONE)', () => {
let component: PageNotFoundViewComponent;
let fixture: ComponentFixture
+ Das Modell zeigt die für eine AWG-Online-Edition projektierte Datenstruktur, die zur Zeit intern in der
+ Webern-DSP-Datenbank implementiert wird.
+
- Das Modell zeigt die für eine AWG-Online-Edition projektierte Datenstruktur, die zur Zeit intern in der
- Webern-SALSAH-Datenbank implementiert wird.
-
+ Die erforderlichen Objektklassen und Eigenschaften werden von DSP intern als RDF (Resource Description Framework) Triple verwaltet. Sie sind in der Grafik als Ellipsen symbolisiert, deren Verknüpfungen und Verweise
+ untereinander als Pfeile dargestellt.
+
- Die erforderlichen Objektklassen und Eigenschaften werden von SALSAH intern als RDF (Resource Description Framework) Triple verwaltet. Sie sind in der Grafik als Ellipsen symbolisiert, deren Verknüpfungen und Verweise
- untereinander als Pfeile dargestellt.
-
+ Komplexere Objektstrukturen, wie die aus mehreren Unter- oder Einzelobjekten zu modellierenden Notentexte
+ oder Kritischen Berichte, sind als Gruppen zusammengefasst. Zudem sind die Schnittstellen zum
+ dokumentarischen Bereich der Webern-DSP-Datenbank angedeutet.
+
- Komplexere Objektstrukturen, wie die aus mehreren Unter- oder Einzelobjekten zu modellierenden Notentexte oder
- Kritischen Berichte, sind als Gruppen zusammengefasst. Zudem sind die Schnittstellen zum dokumentarischen Bereich
- der Webern-SALSAH-Datenbank angedeutet.
- Die in Serie I Abteilung 5 versammelten Klavierlieder beinhalten die erkennbaren Textfassungen der zu Lebzeiten Anton Weberns mit Opuszahlen versehenen und gedruckten oder zum Druck vorgesehenen Klavierlieder (op. 3, 4, 12, 23 und 25) sowie verschiedene dem Entstehungsprozess einiger dieser Editionskomplexe zuzuordnende Einzellieder (George-Lieder M 143–146). Weitere zu Lebzeiten Weberns nicht publizierte Lied-Komplexe, auch wenn sie mit später obsolet gewordenen Opuszahlen versehen wurden (z. B. Dehmel-Lieder M 83, 119, 130–131), werden in Serie II Abteilung 5 ediert. Die insgesamt 14 Klavierlieder Weberns auf Texte von Stefan George (M 133–146) wurden in ihren frühesten Textfassungen vermutlich zwischen Dezember 1907 und 1909 komponiert und gehören zusammen mit den Fünf Sätzen für Streichquartett M 147–151 sowie den Sechs Stücken für großes Orchester M 152–157 zu seinen ersten sogenannten atonalen Kompositionen. Die Zusammenstellung der beiden 1919 bzw. 1923 gedruckten Sammlungen Fünf Lieder aus Der siebente Ring von Stefan George op. 3 und Fünf Lieder nach Gedichten von Stefan George op. 4 stand dabei nicht von Anfang an fest, sondern war einem langwierigen und in seinen verschiedenen Stadien nicht mehr eindeutig rekonstruierbaren Prozess unterworfen, während dessen die meisten Lieder in verschiedenen Textfassungen vorlagen. Eine erste George-Rezeption Weberns ist bereits um 1900 nachweisbar, als er in eines seiner Tagebücher das Gedicht Indes deine mutter dich stillt abschreibt.1 Eine kompositorische Auseinandersetzung mit diesem Gedicht oder eine weitergehende George-Lektüre ist nicht dokumentiert. Zu weiteren Berührungen mit Georges Lyrik dürfte es im Wiener Ansorge-Verein gekommen sein, in dem Webern zusammen mit seinem Studienfreund Karl Horwitz seit 1904 aktiv war und dessen Vereinsabende auch Aufführungen von George-Vertonungen Conrad Ansorges (Fünf Gesänge nach Dichtungen von Stefan George op. 14) im Programm hatten.2 Seit Sommer 1907 besaß Webern eine Ausgabe von Georges Das Jahr der Seele und ab Sommer 1908 auch Exemplare von Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten sowie von Der siebente Ring.3 Alle Bücher weisen Kreuz- oder Winkelmarkierungen bei einigen, jedoch nicht bei allen Titeln der von Webern – auch der als Chorstück bzw. Orchesterlied (Entflieht auf leichten kähnen bzw. Kunfttag III) – vertonten Gedichte auf. Nur in einem Fall (Kunfttag II) findet sich eine Markierung bei einem Gedicht, zu dem keine musikalische Umsetzung durch Webern bekannt ist. Über die Kriterien der Textauswahl Weberns aus den ihm vorliegenden Gedichtbänden gibt es keine Dokumente.4 Ein entscheidender Impuls zur kompositorischen Auseinandersetzung mit Gedichten Georges bestand vermutlich nicht zuletzt in Vertonungen Arnold Schönbergs, der am 17. Dezember 1907 das Lied Ich darf nicht dankend op. 14 Nr. 1 und von März bis Mai 1908 zahlreiche Lieder (nachweislich: Nr. 3–8) des Zyklus Fünfzehn Gedichte aus Das Buch der hängenden Gärten von Stefan George op. 15 komponiert hatte.5 In einem Brief vom 11. Juni 1908 an Schönberg finden sich Hinweise, dass Webern einige der zu diesem Zeitpunkt bereits fertiggestellten Lieder kannte.6 Verschiedene Merkmale lassen es plausibel erscheinen, dass „Erwachen aus dem tiefsten Traumesschoße“ M 143 Weberns erste, und zwar sich deutlich auf Schönbergs op. 14 Nr. 1 beziehende George-Vertonung für Singstimme und Klavier darstellt. Der Umstand, dass diese beiden Lieder im Unterschied zu den meisten später folgenden noch eine Tonartvorzeichnung aufweisen (wie auch Weberns ebenfalls möglicherweise 1907/08 entstandener Chor „Entflieht auf leichten Kähnen“ M 129), deutet auf eine vergleichsweise frühe Konzeption hin, die – mit Blick auf das dokumentierte Entstehungsdatum von Schönbergs op. 14 Nr. 1 als terminus post quem – zwischen Dezember 1907 und Juni 1908 stattgefunden haben könnte.7 Ein Vergleich des Schriftduktus und der verwendeten Notenpapiersorten legt nahe, dass einschließlich „Erwachen aus dem tiefsten Traumesschoße“ M 143 die ersten bzw. einzigen Textfassungen folgender Lieder bereits ebenfalls bis Mitte 1908 entstanden sein könnten: In einem Brief an Schönberg vom Dezember 1908 schrieb Webern aus Berlin – im Zusammenhang einer Bitte um ein Empfehlungsschreiben an Richard Strauss und im Hinblick auf den wohl von Schönberg vorgeschlagenen Kontakt zu dem Berliner Verleger Max Marschalk (Dreililien-Verlag) –, dass er nicht ausreichend Material für ein Liederheft habe: Ich weiß nicht, ich habe so eine blöde Scheu. Das ist es auch[,] warum ich noch nicht bei Marschalk war. Wenn ich ein Liederheft fertig hätte. Aber so kann er ja nichts nehmen, momentan. Einerseits möchte ich, andrerseits –8 Offensichtlich schienen Webern also die vermutlich bis Ende 1908 vorliegenden vier George-Lieder sowie die ebenfalls bereits komponierten fünf Dehmel-Lieder M 83, M 119, M 130–132 keine publikationswürdige Option darzustellen.9 Ein expliziter und datierter Hinweis auf die Komposition eines George-Liedes findet sich erstmals in einem Brief an Heinrich Jalowetz vom 25. Mai 1909 aus Wien: „Ich habe wieder – Gott sei Dank – etwas geschrieben. Ein Lied nach George ‚Trauer I‘ (VII. Ring).“10 In den darauf folgenden Wochen und Monaten, die Webern ab dem 29. Mai zum größten Teil auf dem Familiengut Preglhof in Kärnten verbrachte, berichtete er Schönberg von der Fertigstellung (einer ersten Textfassung) seiner Fünf Sätze für Streichquartett M 147–151 sowie von weiteren Plänen zu Lied- und Orchesterkompositionen (Sechs Stücke für großes Orchester M 152–157),11 die sich jedoch durch den Tod und die Beerdigung seines Großvaters mütterlicherseits, Anton Geer, zunächst verzögerten: Ja, aus den oben angegebenen Gründen, hab’ ich nur ein Lied seit dem Quartett geschrieben. Wieder Stefan George. Vorgestern und Gestern war’s. Jetzt kommen noch ein par [sic]. Ich hab nämlich jetzt so wenig Ruh hier. Aber es muß noch alles werden.12 Der Aufenthalt in Kärnten wurde darüber hinaus vermutlich ab Mitte Juli durch ein kurzfristiges Theaterengagement Weberns in Innsbruck unterbrochen. Ab Ende Juli meldete sich Webern wieder vom Preglhof bei Schönberg, und am 20. August hieß es in einem der Briefe: Mittlerweile habe ich 2 Lieder und zwei Orchesterstücke geschrieben. Die Lieder wieder ganz anders als bisher. Natürlich auch die Orchestersachen.“13 Um welche George-Lieder es sich bei den in diesen Briefen an Schönberg erwähnten im Einzelnen handelte, ist nicht klar. Das einzige genauer datierbare George-Lied Weberns bleibt somit Trauer I M 145, das noch vor dem Aufenthalt in Kärnten kurz vor dem 25. Mai 1909 geschrieben wurde. Das verwendete Notenpapier sowie ein im Vergleich zu den oben genannten mutmaßlich 1908 komponierten Liedern deutlicher Wechsel des Schriftduktus legen nahe, dass im Laufe des Sommers oder Herbstes 1909 einschließlich Trauer I M 145 auch die ersten bzw. einzigen Textfassungen folgender Lieder entstanden sind: Auf der Grundlage der hier vorgeschlagenen schriftbildlichen Einschätzung lässt sich auch eine weitere Niederschrift von „Dies ist ein Lied“ M 133 (Textfassung 2: Grundschicht in C) diesem zeitlichen Umfeld zuordnen. Ob die nicht überlieferte autographe Niederschrift von „Ihr tratet zu dem Herde“ M 142 ([C]) auch 1909 oder bereits 1908 entstanden ist, lässt sich auf dieser Basis freilich nicht entscheiden. Im Unterschied zu den Kompositionen Weberns vor 1908 und nach 1914 sind zu den George-Liedern (wie auch zu den meisten anderen im selben Zeitraum entstandenen Werken) keine konzipierenden (und häufig datierten) Bleistift-Skizzen (Verlaufsskizzen) überliefert, lediglich in den vorhandenen Tinten-Niederschriften Korrekturskizzen mit Bleistift zu einzelnen Stellen. Ob es solche in anderen Schaffensphasen Weberns üblichen Verlaufsskizzen mit Bleistift trotzdem gegeben hat oder ob die frühen mit Tinte niedergeschriebenen Textfassungen der Lieder im Kompositionsprozess für Webern hier eine quasi-skizzierende Funktion hatten, lässt sich nicht pauschal beantworten.14 Die Uraufführung von sechs George-Liedern fand am 8. Februar 1910 in Wien im Rahmen eines Konzerts des Vereins für Kunst und Kultur (der Weiterführung des Ansorge-Vereins) statt. Im gleichen Konzert wurden Weberns Fünf Sätze für Streichquartett M 147–151 sowie Lieder von Bruno Walter und Karl Weigl aufgeführt.15 Weberns Lieder sang, von ihm selbst am Klavier begleitet, Martha Winternitz-Dorda, die bereits einige Wochen zuvor, am 14. Januar, in einem weiteren Konzert des Vereins für Kunst und Kultur mit verschiedenen Schönberg-Aufführungen dessen Fünfzehn Gedichte aus Das Buch der hängenden Gärten von Stefan George op. 15 uraufgeführt hatte. Das Programmheft für den 8. Februar ordnet die Gedichttexte von folgenden sechs George-Vertonungen Weberns unter dem Sammeltitel „Lieder nach Stefan George“ in zwei nach den jeweiligen Gedichtbänden gegliederten Gruppen an, ohne eine Opuszahl zu nennen (in der folgenden schematischen Zusammenfassung mit der bei der Aufführung mutmaßlich zugrundeliegenden Textfassung): Von nahezu allen diesen Liedern sind Abschriften fremder Hand in F (in Quellenübersicht zu op. 3) und D (in Quellenübersicht zu op. 4) überliefert, die sehr wahrscheinlich für diese Aufführung angefertigt worden waren: Nummerierungen der Lieder mit Bleistift von „I“ bis „V“ in den beiden genannten Quellen entsprechen der Reihenfolge der Texte im Programmheft. (Die nicht überlieferte Abschrift von „Ihr tratet zu dem Herde“ M 142 [E] dürfte vermutlich mit der Ziffer „VI“ bezeichnet gewesen sein.) Die Kopisten-Handschrift wirkt in einigen musikalisch-orthographischen Details sehr unbeholfen und weist in der Textunterlegung Ähnlichkeit mit der Schrift von Wilhelmine (Minna) Mörtl, Weberns späterer Ehefrau, auf. Die Abschriften zeigen in der Regel zahlreiche Eintragungen Weberns, die zum Teil (vor allem bei „Dies ist ein Lied“ M 133) Überarbeitungen zu späteren Textfassungen betreffen. Einige der Eintragungen mit rotem Buntstift dürften aber von der Vorbereitung zur Uraufführung im Februar 1910 stammen, wobei die genannten Abschriften vermutlich von der Sängerin benutzt worden waren. Mit Blick auf die mutmaßlich bei der Aufführung zugrundeliegenden Textfassungen hätte Webern die Klavierbegleitung wahrscheinlich aus den folgenden Quellen im Zustand der entsprechenden Korrekturschicht spielen können: Die in diesem Konzert von 1910 gespielten Kompositionen Weberns erhielten mehrere negative Kritiken. Angeführt sei hier beispielhaft die Passage einer Besprechung von Julius Korngold in der Neuen Freien Presse, in der auch auf das vorangegangene Schönberg-Konzert mit der Uraufführung von dessen George-Liedern op. 15 explizit Bezug genommen wird:16 Kürzlich beschäftigte uns der Fall Schönberg, nun gibt es auch den Fall Anton v. Webern, wenn auch im Grunde beide eins sind. Denn Herr v. Webern ist Schönbergs Schüler, dazu einer, der nicht bloß auf die Worte des Meisters schwört, sondern diesen in manchem Betrachte übertrumpft. Dem ist gut so; die Spannung schwindet, eine fast gemütliche Gleichgiltigkeit stellt sich ein. Mit dem Lehrer konnte und mußte man sich noch auseinandersetzen, nicht mehr mit dem Jünger. […] Auch sechs Lieder nach Stephan [sic] George gehen, und nicht bloß in der Wahl des Dichters, auf Schönbergs Pfaden. Zu Akkorden aus der neuen Harmonielehre tritt eine in den entsprechenden Intervallen psalmodierende Singstimme. Auch der musikalisch geschulte, gut aufnahmsfähige Hörer macht eine psychische Erfahrung: er glaubt immer dasselbe zu hören. Hier schafft aber das Wort einigen Ausdruck, freilich durchgehends den seelischer Geknicktheit, seelischen Zerfalls. Wenn man guten Willens ist, wird man an den besten Stellen an Oktave Mirbeaus Maler gemahnt, der schließlich nur noch „Seelen“ malen wollte. . . . Der Leser vergebe unsere grimmige Heiterkeit. Am Faschingdienstag aufgeführt, überträgt diese Musik unwillkürlich etwas von dessen Stimmung auf den Aschermittwoch der Kritik.17 Die sechs 1910 uraufgeführten Lieder stellen lediglich eine Auswahl aus den zu diesem Zeitpunkt sehr wahrscheinlich bereits komponierten 14 George-Liedern Weberns dar. In zwei handschriftlichen Titelaufstellungen hatte der Komponist vermutlich bereits vor der Uraufführung alle Lieder in zwei als „op. 2“ und „op. 4“ gezählten Sammlungen mit jeweils sieben Liedern angeordnet.18 Die beiden Listen lauten (mit Winkelmarkierungen in Bleistift „[b]“ und rotem Buntstift „[r]“): Einige Merkmale der beiden Listen zeigen,19 dass ihre Niederschrift nicht gleichzeitig erfolgte. Im Sinne der Opuszahlen-Reihenfolge, die von der Passacaglia M 127 als „op. 1“ begonnen und von den Fünf Sätzen für Streichquartett M 147–151 als „op. 3“ unterbrochen worden sein dürfte, ist die Zusammenstellung der Sieben Lieder „op. 2“ also vermutlich früher als die der in der zweiten Liste mit „op. 4“ bezeichneten Lieder vorgenommen worden. (Hierzu passt auch, dass in „op. 2“ alle mutmaßlich bereits 1908 komponierten Lieder versammelt sind.)20 Trotz ihrer Unterschiede und der zu vermutenden zeitlichen Differenz ihrer Entstehung weisen die beiden Listen Spuren einer gemeinsamen Bearbeitung auf, nämlich die bereits erwähnten Winkel-Markierungen mit Bleistift und rotem Buntstift links neben einigen Zeilen (in der letzten Zeile zu „op. 4“ auch zwischen Liednummer und Anfangszeile). Zusätzlich sind in der Liste von „op. 4“ einige Nummerierungen („1“, „5“ und „6“) mit Bleistift gestrichen. Möglicherweise markiert der rote Buntstift die Auswahl für die Aufführung vom 8. Februar 1910 (wobei der Winkel neben „2. ‚Dies ist ein lied…‘ “ in der Liste zu „op. 2“ sich auch auf das darüberstehende „1. Eingang.“ beziehen würde)21: Alle George-Lieder sowie die beiden Listen selbst wären dann vor diesem Datum entstanden. In diesem Fall wären diese beiden Liedsammlungen vermutlich auch unter den Kompositionen gewesen, die Webern bei einem von Schönberg initiierten Treffen mit dem Direktor der Universal Edition, Emil Hertzka, am 9. Oktober 1909 präsentierte – allerdings ohne dass in der Folge irgendeines der vorgestellten Werke in den Verlag aufgenommen wurde.22 Die beiden Zusammenstellungen stellen jedoch nicht einfach umfangreichere Formen der später als Opus 3 und Opus 4 gedruckten Sammlungen dar:23 So spielt das Ordnungsprinzip der 1919 publizierten Fünf Lieder aus Der siebente Ring von Stefan George op. 3, nämlich sämtliche von Webern vertonte Texte des Binnenzyklus Lieder aus Der siebente Ring in der Reihenfolge der Vorlage zu bringen,24 in der Liste zu „op. 2“ keine Rolle.25 Das in Opus 3 enthaltene „An Bachesranft“ M 135 erscheint hier in „op. 4“, und das in den 1923 gedruckten Fünf Liedern nach Gedichten von Stefan George op. 4 tatsächlich enthaltene „So ich traurig bin“ M 141 ist auf der Liste zu den Sieben Liedern „op. 4“ gestrichen. Anfang Juni 1911 schickte Webern „ungefähr 10 Lieder“ zusammen mit den Fünf Sätzen für Streichquartett M 147–151 und den Vier Stücken für Geige und Klavier M 161–164 an den Dreililien-Verlag in Berlin.26 Um welche Lieder es sich dabei im Einzelnen gehandelt hat, ist nicht zu eruieren. Nachdem alle Werke abgelehnt worden waren, reichte Webern Ende September oder Anfang Oktober vermutlich dieselben Kompositionen beim Kölner Verlag Tischer & Jagenberg ein,27 allerdings wieder ohne eine Publikation zu erreichen.28 Im Herbst 1911 erhielt Webern ebenso wie Schönberg und Alban Berg die Einladung eine Notenbeilage zum von Wassily Kandinsky und Franz Marc herausgegebenen Almanach Der blaue Reiter beizusteuern. Hierfür wählte er „Ihr tratet zu dem Herde“ M 142. Aus einem Brief an Paul Königer geht hervor, dass Webern dieses Lied auch in die Auswahl der an Tischer & Jagenberg gesandten Lieder aufgenommen hatte: Sie wollen dieses Lied von mir; ja ich habe die zwei Exemplare, die ich hatte, verschickt an den „blauen Reiter“ und an den Verleger. Ich würde es aber, wenn das noch möglich ist, aus der Skizze neuerdings abschreiben und Ihnen schenken.29 Vermutlich hatte Webern also die nicht überlieferten Quellen [C] und [E] an den Kölner Verlag bzw. an Der blaue Reiter geschickt. Mit der Absage des Verlegers Gerhard Tischer Ende Dezember 1911 / Anfang Januar 1912 erhielt Webern auch seine Noten zurück und konnte Königer das versprochene Exemplar des Liedes in Aussicht stellen: „Mein Lied bekommst Du bald. Es erscheint übrigens im ‚blauen Reiter‘.“30 (Ende Januar erreichte Webern „die Korrektur meines Liedes“,31 also vermutlich eine Korrekturfahne des nach seiner Vorlage erstellten Notenstiches [F].) Der blaue Reiter erschien im Mai 1912, Webern erhielt sein Exemplar (mit GH) Anfang Juni.32 Bereits Anfang des Jahres 1912 hatte Webern den Plan gefasst, eine Auswahl von neun Liedern zusammen mit anderen Werken im Privatdruck erscheinen zu lassen, wie er in einem Brief an Berg schrieb: Auf Schönbergs Zureden habe ich mich entschlossen 4 meiner Werke (Passacaglia, 9 Lieder, Quartett [das erste] und die älteren 6 Orchesterstücke) im Straube-Druck (so wie Schönbergs II. Quartett) herauszugeben. Ich habe also mit der Revision dieser Noten viel zu thun.33 Diesem Entschluss waren im Februar Besprechungen mit Schönberg vorangegangen, der die Durchsicht verschiedener Werke Weberns in seinem Tagebuch erwähnt, darunter auch ausdrücklich Lieder: Nachmittags kam Webern, um seine Lieder (die er drucken lassen will) mit mir durchzugehen. Gefielen mir wieder sehr. Wirklich ein originelles Talent. Ich sehe, er wird etwas Großes werden.34 In seinem Handexemplar GH des in Der blaue Reiter erschienenen Liedes überarbeitete Webern die Textfassung und ergänzte die Opuszahl „2“. In den beiden oben genannten Listen der jeweils Sieben Lieder „op. 2“ und „op. 4“ wurde das Lied jedoch noch unter „op. 4“ eingeordnet: Vermutlich war „Ihr tratet zu dem Herde“ M 142 (Textfassung 2) also Teil einer neuen als „op. 2“ gezählten Sammlung von „9 Liedern“, die eine Auswahl aus allen 14 George-Liedern darstellte und die bisherigen beiden Zusammenstellungen ersetzte. Welche anderen Lieder dieser neuen Sammlung angehörten, ist nicht dokumentiert. Zu der Veröffentlichung „im Straube-Druck“ aller vier genannten Opera kam es schließlich nicht. Tatsächlich erschienen in dieser Form 1913 dann nur die Orchesterstücke M 152–157 als „op. 4“. Stattdessen erwähnt Webern im Sommer 1912 in einem Brief an Schönberg den Plan, eine wieder andere, die Lieder zunächst bewusst aussparende Auswahl seiner Kompositionen bei Simrock einzureichen: Ich werde noch heute an Simrock folgendes schicken: die „Passacaglia“[,] das Quartett und die Violinstücke. Ich habe meine Lieder noch immer nicht ordentlich abgeschrieben, sonst schickte ich die auch. Ich werde aber in einem Brief davon sprechen. Vielleicht verlangt er dann die Lieder. Bis dahin bringe ich sie in Ordnung.35 Wenige Wochen später erhielt Webern jedoch auch hier eine Absage.36 Ob er einige seiner Lieder in der Folge gleichwohl „ordentlich abgeschrieben“ hatte, ist nicht nachweisbar. Anfang 1913 schickte Webern schließlich eine nicht näher bestimmte Lieder-Auswahl an den Gadow-Verlag in Hildburghausen, offensichtlich jedoch wieder ohne Erfolg.37 Im Sommer 1914 verwendete sich Schönberg erneut bei der Universal Edition für Webern:38 Nach einem Gespräch Weberns mit Hertzka am 25. Juni wurde schließich verabredet, dass im darauffolgenden Jahr von Webern „[d]ie Partitur op. 4, der Chor u. ein Heft Lieder oder die Violinstücke“39 aufgenommen werden würden. Eine Entscheidung zwischen einem Liederheft und den Vier Stücken für Geige und Klavier M 161–164 musste jedoch nie gefällt werden: Zu einer Publikation während des Ersten Weltkriegs, der wenige Wochen nach der Verabredung mit Hertzka begann, kam es aus ökonomischen Erwägungen nicht.40 Wenige Tage vor Kriegsausbruch ergab sich durch die Vermittlung von Alban Berg und Alfred Kalmus gleichwohl noch die vermeintliche Möglichkeit, für eine bei der Universal Edition vorbereitete Sammelpublikation Das moderne Lied etwas beizusteuern:41 Webern schickte drei – nicht zu bestimmende – Lieder ein,42 von denen jedoch keines Berücksichtigung fand.43 Auf eine Auswahl von neun George-Liedern verweist eine in ihrer Grundschicht mit roter Tinte geschriebene autographe Titelseite (Bl. 8r in H): 44 Neun Lieder | op[.] 6 [„6“ korrigiert aus: „5“; die gesamte Zeile nachträglich mit Bleistift ergänzt] | nach Gedichten von Stefan George | komponiert | von | Anton von Webern. Die Änderung der Opuszahl der „Neun Lieder“ von „op. 2“ zu zunächst „op. 5“ erfolgte vermutlich 1914, als der Chor „Entflieht auf leichten Kähnen“ M 129 in die Werkzählung als op. 2 aufgenommen wurde. Die Lieder rückten somit hinter die als „op. 3“ bezeichneten Streichquartett-Kompositionen M 147–151, M 171–174 und M 178–180 sowie die inzwischen tatsächlich im Privatdruck als „op. 4“ erschienenen Orchesterstücke M 152–157. Eine solche Neuordnung der Opuszahlen könnte Webern während der „Revision“ seiner kompositorischen Arbeiten Ende 1914 / Anfang 1915 durchgeführt haben45 – möglicherweise auch noch mit Blick auf die in Aussicht gestellte Publikation einiger seiner Werke in der zweiten Jahreshälfte 1915 bei der Universal Edition. Dieser Sammlung von „Neun Liedern op. 5“ gehörte zu einem bestimmten Zeitpunkt vermutlich „Erwachen aus dem tiefsten Traumesschoße“ M 143 an, das in A die nachträgliche Bezeichnung „op[.] 5 No 2“ erhielt. Wann und warum auf der zitierten Titelseite in H die erneute Modifizierung der Zählung von „op. 5“ zu „op. 6“ vorgenommen wurde, ist unklar. (1914 wurden vermutlich zunächst die Vier Stücke für Geige und Klavier M 161–164 als „op. 6“ gezählt.) Inwieweit sich die Zusammenstellungen der „ungefähr 10 Lieder“ oder „9 Lieder“ bzw. „Neun Lieder“ zwischen 1911 und 1914 darüber hinaus im Einzelnen veränderten, ist nicht dokumentiert. Neben Weberns Bestrebungen, eine Auswahl seiner George-Lieder zu drucken, gab es nach der oben genannten Uraufführung von sechs Liedern im Februar 1910 auch immer wieder Pläne zu weiteren Aufführungen. So war für ein Konzert am 24. April 1911 in Wien zunächst auch an nicht näher genannte Lieder Weberns gedacht worden, was aber aus verschiedenen Erwägungen fallen gelassen wurde.46 Im Zusammenhang einer Aufführung der Violinstücke M 161–164 am 29. Juni 1912 in Wien überlegte Webern zeitweise, diese durch „4 Lieder“ zu ersetzen.47 Und für eine von Schönberg im Herbst 1913 aufgeworfene Idee eines gemeinschaftlichen „Kompositionsabends“ von Berg und Webern in Berlin dachte letzterer neben seinen Streichquartettkompositionen M 147–151, M 171–174 und M 178–180 auch an Lieder: Weiters von mir Lieder. Am schönsten wäre es[,] wenn die Freund sänge. Glaubst[,] geht das zu machen? Ich möchte ihr die Lieder demnächst schicken. Darf ich mir von Dir die Adresse der Frau Freund erbitten?48 Tatsächlich stammt eine der überlieferten Quellen von „Dies ist ein Lied“ M 133 (C) aus dem Nachlass der Sängerin Marya Freund, die am 23. Februar 1913 bei der Uraufführung der Gurre-Lieder Schönbergs die Waldtaube gesungen hatte49 und auch beim „Skandalkonzert“ am 31. März desselben Jahres (u. a. mit der Uraufführung von Weberns Sechs Stücken für großes Orchester „op. 4“ [M 152–157]) als Interpretin der – aufgrund des Tumultes nicht zur Aufführung gelangten – Kindertotenlieder von Gustav Mahler vorgesehen war.50 Laut einer archivalischen Notiz gelangte das Autograph „um 1914“ in den Besitz von Freund.51 Zu einer Aufführung durch die Sängerin im geplanten Zusammenhang kam es jedoch nicht: Das Programm des Konzerts wurde zunächst gekürzt,52 der Plan des Kompositionsabends offensichtlich schließlich ganz fallengelassen. Ob Freund dieses Lied oder überhaupt George-Lieder von Webern zu anderen Gelegenheiten gesungen hat, ist nicht bekannt. Zu tatsächlichen Aufführungen von George-Liedern Weberns – nach der Uraufführung von sechs Liedern 1910 – kam es vermutlich erst nach Kriegsende. Diese standen in einem engen Zusammenhang mit der Publikation der Fünf Lieder aus Der siebente Ring von Stefan George op. 3 im Verlag des Vereins für musikalische Privataufführungen (L): In einem Vereinskonzert sang Felicie Hüni-Mihacsek begleitet von Eduard Steuermann am 6. April 1919 zunächst „Vier Lieder Op. 3“, wobei im Vergleich zu den zwei Monate später gedruckten Fünf Liedern op. 3 das dort dritte Lied „An Bachesranft“ M 135 noch fehlte.53 Am 6. Juni 1919 erfolgte dann durch dieselben Ausführenden die Uraufführung der vollständigen Sammlung, deren Partitur beim Konzert auch zum Verkauf auslag.54 Über die Herstellung dieses Drucks ist kaum etwas bekannt,55 eine Stichvorlage [K], die für einige der Lieder neue, in anderen Quellen nicht dokumentierte Textfassungen geboten haben muss, ist nicht überliefert. Die beiden Vereins-Aufführungen im April und Juni dürften auf der Grundlage von handschriftlichen Quellen mit früheren Textfassungen erfolgt sein, oder das verwendete Material ist ebenfalls nicht erhalten.56 Der Druck L war erst einige Tage vor der zweiten Aufführung im Juni fertiggestellt worden57 und enthält folgende Lieder: I „Dies ist ein Lied“ M 133 (Textfassung 4) II „Im Windesweben“ M 134 (Textfassung 3) III „An Bachesranft“ M 135 (Textfassung 3) IV „Im Morgentaun“ M 136 (Textfassung 3) V „Kahl reckt der Baum“ M 137 (Textfassung 5) Nachdem Webern im August 1920 schließlich einen Vertrag mit der Universal Edition über die Abtretung des Urheberrechts zunächst von op. 1 (Passacaglia M 127), op. 2 („Entflieht auf leichten Kähnen“ M 129), op. 3 (George-Lieder M 133–137) und op. 6 (Orchesterstücke M 152–157) abgeschlossen hatte, wurden die verbliebenen Exemplare der 1919 vom Verein gedruckten Auflage der Fünf Lieder aus Der siebente Ring von Stefan George op. 3 von der Universal Edition übernommen.58 Für die Drucklegung der Fünf Lieder nach Gedichten von Stefan George op. 4 ließ Webern eine Abschrift I der in seiner autographen Reinschrift H enthaltenen Textfassungen anfertigen. Wann dies genau geschah, ist unklar, vermutlich in zeitlicher Nähe zum Vertragsabschluss über das Werk im April 1923.59 Der Druck J erschien im August 1923 und enthält folgende Lieder: I Eingang („Welt der Gestalten“) M 138 (Textfassung 3) II „Noch zwingt mich Treue“ M 139 (Textfassung 3) III „Ja Heil und Dank dir“ M 140 (Textfassung 2) IV „So ich traurig bin“ M 141 (Textfassung 2) V „Ihr tratet zu dem Herde“ M 142 (Textfassung 3) Die Uraufführung der Fünf Lieder nach Gedichten von Stefan George op. 4 erfolgte bereits am 23. November 1923 in Hamburg mit Jenny Jungbauer und Ilse Fromm-Michaels, im Rahmen des von Josef Rufer und Hans Heinz Stuckenschmidt organisierten Konzert-Zyklus „Neue Musik“. Webern war wohl nicht anwesend und auch nicht in die Vorbereitung eingebunden gewesen.60 Eine Aufführung der vollständigen Sammlung von op. 4 in Weberns Anwesenheit fand dagegen erst am 10. Februar 1940 in Basel in einem Konzert der Internationalen Gesellschaft für Neue Musik (im Folgenden: IGNM) mit Maguerite Gradmann-Lüscher und Erich Schmid statt, bei dem diese von Webern auch noch drei aus den Vier Liedern op. 12 sowie Lieder von Schönberg und Berg interpretierten.61 Wie bei dieser zuletzt genannten fanden weitere Aufführungen von George-Liedern zu Lebzeiten Weberns häufig in verschiedenen Kombinationen statt, in denen aus den Sammlungen der gedruckten Opera 3 und 4 sowie den Vier Liedern op. 12 ausgewählt wurde. Folgende Aufführungen lassen sich neben den bereits erwähnten von 1910, 1919 (Uraufführung op. 3) und 1923 (Uraufführung op. 4) derzeit nachweisen: – 20. November 1922, Prag, Verein für musikalische Privataufführungen, Felicie Hüni-Mihacsek und Eduard Steuermann: Fünf Lieder aus Der siebente Ring von Stefan George op. 3.62 – 17. Januar 1925, Paris, Revue musicale, Ruzena Herlinger und Ernst Bachrich: op. 3/1, 3/2, 3/3.63 – 26. Oktober 1928, London, Wigmore Hall, Ruzena Herlinger und Eduard Steuermann: op. 3/1, 3/2, 3/5, 12/1 und 12/4.64 – 25. Oktober 1929, Brüssel, Palais des Beaux-Arts, Ruzena Herlinger und Stefan Askenase: Lieder aus op. 4 und op. 12.65 – 13. April 1931, Wien, Kleiner Musikvereins-Saal, Aenne Michalsky und Eduard Steuermann: op. 4/1, 3/1, 3/2, 3/5, 12/1 und 12/4.66 – 18. November 1931, Amsterdam, Berthe Seroen und Phons Dusch: op. 3/1, 3/3, 12/2.67 – 2. Dezember 1933, Wien, Kleiner Musikvereins-Saal (Konzert der IGNM zu Weberns 60. Geburtstag), Aenne Michalsky und Eduard Steuermann: Lieder aus op. 3, 4 und 12.68 – 17. Dezember 1934, Wien, Ehrbar-Saal, Felicie Hüni-Mihacsek und Eduard Steuermann: Fünf Lieder aus Der siebente Ring von Stefan George op. 3.69 – 10. Februar 1940, Basel, Konservatorium (Konzert der IGNM, Ortsgruppe Basel), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf Lieder nach Gedichten von Stefan George op. 4 sowie op. 12/2, 12/4 und 12/1.70 – 28. März 1941, Zürich, Zunfthaus „Zur Saffran“ (Konzert der IGNM, Pro Musica, Ortsgruppe Zürich), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf George-Lieder sowie drei Lieder aus op. 12.71 – 5. Dezember 1943, Basel, Konservatorium, Marguerite Gradmann-Lüscher und Paul Baumgartner: Fünf Lieder aus Der siebente Ring von Stefan George op. 3.72 Zu den meisten der Ausführenden hatte Webern persönlichen Kontakt und in einigen Fällen bei der Einstudierung mitgewirkt. In seinem Handexemplar der Fünf Lieder nach Gedichten von Stefan George op. 4 (JH) finden sich verschiedene aufführungsrelevante Eintragungen und Zeitangaben. Ob diese im Zusammenhang mit einer der genannten Aufführungen stehen (möglicherweise mit der Aufführung der gesamten Sammlung 1940 in Basel), ist nicht nachweisbar. 1 | Anton Webern, „Drei frühe Tagebücher“, transkribiert und kommentiert von Barbara Schingnitz, in: Der junge Webern. Texte und Kontexte, hg. von Thomas Ahrend und Matthias Schmidt, Wien: Lafite, 2015 (Webern-Studien 2b), S. 215–324, hier S. 265 (Tagebuch II Bl. 19r–19v). Weberns Vorlage war allerdings nicht Georges Sammlung Das Jahr der Seele (Berlin: Blätter für die Kunst, 1897, S. [21 f.]), sondern ein Zitat aus Ernst von Wolzogens Roman Das dritte Geschlecht (Berlin: Eckstein, [1899], S. 103), wo das Gedicht auf subtile Weise abgeändert erscheint. Vgl. den Kommentar zu Webern, „Drei frühe Tagebücher“, a. a. O., S. 305, sowie Cornelia Bartsch, „‚Bis endlich das Weib vor Weh vergeht…‘ Geschlechtererzählungen des jungen Anton Webern“, in: Der junge Webern. Texte und Kontexte, a. a. O., S. 169–197, insbesondere S. 196 f. 2 | So am 11. Februar 1904 sowie am 3. Dezember desselben Jahres. Vgl. Conrad Ansorge 1862–1930. Ein Pianist des Fin de siècle in Berlin und Wien, hg. von Eike Rathgeber, Christian Heitler und Manuela Schwartz, Wien: Böhlau, 2017, S. 421 f. und 425. Zu Weberns Engagement im Wiener Ansorge-Verein vgl. ebd. passim. 3 | Stefan George, Das Jahr der Seele, Berlin: Bondi, 31904, S. 14 (Ja heil und dank dir…), 30 (Noch zwingt mich treue…), 118 (Ihr tratet zu dem herde): George_DJdS; Stefan George, Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten, Berlin: Bondi, 31907, S. 74 (So ich traurig bin): George_DBdH; ders., Der siebente Ring, Berlin: Blätter für die Kunst, 1907, S. 126 (Eingang), 157–161 (Dies ist ein lied, Im windes-weben, An baches ranft, Im morgen-taun, Kahl reckt der baum): George_DsR. Weberns Exemplare befinden sich in CH-Bps, Sammlung Anton Webern (PSS AW B 1039–1041). 4 | Biographische Zusammenhänge mit Blick auf den Tod von Weberns Mutter 1906 sowie das die meisten der vertonten George-Gedichte durchziehende Trauer-Motiv skizziert Albrecht Dümling, „‚Dies ist ein Lied für dich allein‘. Zu einigen Motiven von Weberns Textwahl“, in: Anton Webern I, hg. von Heinz Klaus Metzger und Rainer Riehn, München: edition text + kritik, 1983 (Musik-Konzepte Sonderband), S. 251–261. 5 | Vgl. Arnold Schönberg, Lieder mit Klavierbegleitung, Kritischer Bericht, hg. von Christian Martin Schmidt, Mainz 1989 (Sämtliche Werke Abteilung I Reihe B Band 1/2 Teil 1), S. 171–176 sowie S. 182–217. 6 | Webern an Schönberg, 11. Juni 1908 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18181]): „Weil Sie mich 7 | Vgl. Thomas Ahrend, „Zu Anton Weberns George-Vertonung ‚Erwachen aus dem tiefsten Traumesschoße‘. Eine Spurensuche“, in: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2011, hg. von Simone Hohmaier, Mainz: Schott, 2011, S. 53–74, hier S. 66 ff. 8 | Webern an Schönberg, 13. Dezember 1908 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21729]). 9 | Die Dehmel-Lieder stellte Webern gleichwohl zu späteren Zeitpunkten zu – allerdings nicht publizierten – Sammlungen zusammen. Vgl. Mathew R. Shaftel, „Anton Webern’s Complete Early Songs (1899–1909)“, in: The Anton Webern Collection. Early Vocal Music, hg. von ders., New York: Carl Fischer, 2004, S. iii–xiii, hier S. xiii. 10 | Webern an Jalowetz, 25. Mai 1909 (Anton Webern, Briefe an Heinrich Jalowetz, hg. von Ernst Lichtenhahn, Mainz: Schott, 1999 [Veröffentlichungen der Paul Sacher Stiftung 7], S. 129). 11 | Webern an Schönberg, 16. Juni 1909 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21801]): „Ich habe bereits ein ganzes Streichquartett geschrieben. Es hat 5 Sätze. […] Diesen Samstag fahre ich mit meinem Vater nach Klagenfurt, um von dort aus ein par [sic] kleine Ausflüge am Wörtersee und in das Gebirge der Karawanken zu machen. Mitte der nächsten Woche bin ich wieder hier. Dann will ich zunächst ein par Lieder schreiben[.] Und dann für Orchester. Ich kann es kaum erwarten.“ 12 | Webern an Schönberg, 10. Juli 1909 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21731]). 13 | Webern an Schönberg, 20. August 1909 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21809]). 14 | Vgl. Thomas Ahrend und Michelle Ziegler, „Anton Webern: Dies ist ein Lied M 133. Impuls [Ahrend]: Flüchtige Reinschrift oder sorgfältige Skizze? Überlegungen zu Anton Weberns frühester Niederschrift von Dies ist ein Lied M 133. Respondenz [Ziegler]: Bleistiftglück und Tintenbestimmtheit. Gedanken zu den Schreibstoffen im Kompositionsprozess von Anton Weberns Dies ist ein Lied“, in: Journal of the Arnold Schönberg Center 17 (2020), S. 160–182. 15 | [Programm:] „Verein für Kunst und Kultur. Kammermusik- und Liederabend moderner Komponisten, Wien, 8. Februar 1910“, US-NH, Karl Weigl Papers (MSS 73). Digitalisat: https://ark.dasch.swiss/ark:/72163/1/0806/EILT3bp7Sc2m9_8wWrVvsgb.20161121T080801Z. Die in diesem Programm ebenfalls genannten Fünf Gesänge für eine tiefe Stimme von Franz Schreker mit Theo Drill-Orridge und Clemens Kraus [sic, i. e. Clemens Krauss?] entfielen aufgrund einer Verfügung gegen die Sängerin; vgl. r. h., „Feuilleton. Von neuen Tonwerken“, in: Wiener Zeitung, 17. Februar 1910 (Wiener Abendpost), S. 1–2, hier S. 2. 16 | Vgl. auch Julius Korngold, „Feuilleton. Musik. (Philharmonisches Konzert. – Konzertverein. – Arnold[-]Schönberg-Abend.), in: Neue Freie Presse, 26. Januar 1910 (Morgenblatt), S. 1–3, hier S. 3: „In den George-Liedern [lies: Schönbergs] […] tritt eine psalmodierende Singstimme den Klängen und Folgen der neuen Schönberg-Grammatik hinzu. Nur daß hier das Wort Mitteilung und Ausdruck schafft, allerdings zu beharrlich in der Richtung pretiöser, krankhaft-sensitiver Stimmungen.“ 17 | Julius Korngold, „Feuilleton. Novitäten im Konzertsaale“, in: Neue Freie Presse, 16. Februar 1910 (Morgenblatt), S. 1–3, hier S. 1–2. (Mit „Oktave Mirbeaus Maler“ ist wohl der Protagonist aus Octave Mirbeaus Roman Dans le ciel [L’Écho de Paris 1892–1893] gemeint.) Für weitere Besprechungen vgl. auch Richard Specht, „Konzerte“, in: Der Merker 1 (1909/10), Heft 10, S. 437, sowie r. h., „Feuilleton“ (Anm. 15). 18 | Beide Blätter befinden sich in CH-Bps, Sammlung Anton Webern. Faksimiles in Ahrend, „Spurensuche“ (Anm. 7), S. 62 f. Die Reihenfolge der Lieder, ohne Rücksicht auf die originale Schreibung der Titel und die Markierungen (siehe unten), wurde bereits von Moldenhauer innerhalb der „Prefatory Note“ zu Anton Webern, Four Stefan George Songs, hg. von Peter Westergaard, New York: Carl Fischer, 1970, S. ii, sowie in Hans und Rosaleen Moldenhauer, Anton von Webern. Chronik seines Lebens und Werkes, Zürich: Atlantis, 1980, S. 104, mitgeteilt. Vgl. auch die Einleitung zu The Anton Webern Collection, hg. von Mathew R. Shaftel, New York: Carl Fischer, 2004, S. xiii, wo auf die Streichungen innerhalb der Liste zu „op. 4“ hingewiesen wird, die Markierungen aber auch nicht erwähnt werden. 19 | Unterschiedliche Papiersorten; Schreibstoff: rote Tinte bei „op. 2“, schwarze Tinte bei „op. 4“; überwiegend Kurrentschrift bei „op. 2“, abwechselnd Kurrent und lateinische Buchstaben bei „op. 4“; Nennung der Binnenzyklen der George-Vorlage nur bei „op. 4“. 20 | Möglicherweise stellt die Aufnahme von Eingang M 138, „Im Morgentaun“ M 136 und „Kahl reckt der Baum“ M 137 in „op. 2“ einen Hinweis darauf dar, dass die ersten Textfassungen dieser Lieder – unabhängig von ihrem Schriftduktus und der verwendeten Papiersorte – bereits vor Trauer I M 145, mit der die Liste der Lieder in „op. 4“ beginnt, also vor Ende Mai 1909 entstanden sind. Gegen ein solch rein chronologisches Auswahlprinzip der beiden Sammlungen spricht allerdings u. a. die auffällige gleiche Anzahl von zweimal sieben Liedern. 21 | Tatsächlich ist der vertikale Schenkel dieses Winkels im Vergleich zu den anderen der längste, also am weitesten über die Zeile hinausreichende: Die Markierung ließe sich ihrer graphischen Form nach durchaus auf beide Zeilen beziehen. Zu möglichen weiteren Interpretationen auch der anderen Markierungen vgl. Ahrend, „Spurensuche“ (Anm. 7), S. 60–66. 22 | Vgl. Schönberg an Hertzka, 7. Oktober 1909 (zitiert nach Julia Bungardt, „Einleitung“, in: Anton Webern, Briefwechsel mit der Universal-Edition, hg. von Julia Bungardt, Wien: Lafite, 2020 [Webern-Studien 5], S. 12): „Verehrter Herr Direktor, verabredungsgemäß benachrichtige ich Sie, dass ich mit meinem Schüler Dr. Anton von Webern Sonntag vormittag gegen 1/2 12 Uhr bei Ihnen sein werde[,] um Ihnen meine Klavierstücke und Kompositionen Weberns vorzuführen […].“ 23 | Vgl. die im gegenteiligen Sinne zu verstehenden Formulierungen bei Moldenhauer, Anton von Webern (Anm. 18), S. 653, zu „Erwachen aus dem tiefsten Traumesschoße“ und Kunfttag I: „[u]rsprünglich für Op. 3 geplant“, sowie zu Trauer I und „Das lockere Saatgefilde“: „[u]rsprünglich für Op. 4 geplant.“ 24 | Der Zyklus Lieder in Georges Der siebente Ring gliedert sich in einen Vorklang sowie mehrere nummerierte Liedfolgen und Einzelgedichte. Webern ordnet in op. 3 aus der dort ersten Liedfolge „Lieder I–VI“ das erste bis fünfte Lied in der Reihenfolge Georges an. Das sechste Lied, „Kreuz der strasse ..“ wurde von ihm nicht vertont. Die Bezeichnung „(Lieder I–IV)“ nach „An bachesranft….“ in Weberns Liste zu den Sieben Liedern „op. 4“ ist wohl eine Verschreibung für „I–VI“. 25 | Vgl. dagegen Robert W. Wason, „A Pitch-Class Motive in Webern’s George Lieder, Op. 3“, in: Webern Studies, hg. von Kathryn Bailey, Cambridge: Cambridge University Press, 1996, S. 111–134, hier S. 133: „[A]fter all, it seems likely that Webern would have set George’s lieder in continuity; moreover, Webern may well have experimented with various orderings later on, after having composed all fourteen songs, only to return to his initial conception for publication.“ 26 | Webern an Schönberg, 5. Juni 1911 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21863]): „Ich besorge noch schnell selber eine Abschrift meines Quartettes und werde dieses, die Violinstück[e] und ungefähr 10 Lieder einschicken.“ Vgl. auch Moldenhauer, Anton von Webern (Anm. 18), S. 130. 27 | Vgl. Webern an Schönberg, 30. September 1911 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21900]): „Der ‚Dreililien‘ Verlag hat mir meine Sachen zurückgeschickt. Sie hätten sich ‚leider‘ nicht dazu entschließen können. Ich werde Sie jetzt an D[r.] Tischer schicken. –“ Vgl. auch Webern an Jalowetz, 23. Oktober 1911 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 168–171, hier S. 169: „[…] Dr Tischer habe ich, auf seine Aufforderung hin (von Schönberg veranlaßt) einiges von mir zum Verlage eingeschickt.“ Moldenhauer, Anton von Webern (Anm. 18), S. 140, und der Kommentar zu Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 172 sprechen von „neun George-Liedern“. 28 | Vgl. Webern an Gerhard Tischer (Tischer & Jagenberg), 2. Januar 1912 (Moldenhauer, Anton von Webern [Anm. 18], S. 140): „Es tut mir sehr leid, daß Sie meine Kompositionen nicht in Ihren Verlag aufnehmen.“, sowie Webern an Königer, 11. Januar 1912 (A-Wn, HS 975/7–8): „Dr Tischer hat mir meine Noten wieder zurückgeschickt. Ich bin also zum 3. Male abgewiesen worden.“ Vermutlich zählt Webern hier also das von Schönberg initiierte Treffen mit Hertzka vom 9. Oktober 1909 (siehe oben, Anm. 22) als den ersten Versuch, bei einem Verlag angenommen zu werden. 29 | Webern an Königer, 23. November 1911 (A-Wn, HS 975/7–6). Die in der Brief-Passage erwähnte „Skizze“ ist nicht bekannt. Da Webern, soweit ersichtlich, das Lied nicht „neuerdings abgeschrieben“ hat, ist nicht klar, ob die erwähnte Skizze dazu auch tatsächlich existierte. Vgl. auch Stefan Münnich, „Quellenverluste (Deperdita) als methodologischer Unsicherheitsbereich für Editorik und Datenmodellierung am Beispiel von Anton Weberns George-Lied op. 4 Nr. 5“, in: Die Modellierung des Zweifels – Schlüsselideen und -konzepte zur graphbasierten Modellierung von Unsicherheiten, hg. von Andreas Kuczera, Thorsten Wübbena und Thomas Kollatz, Wolfenbüttel: Forschungsverbund Marbach Weimar Wolfenbüttel, 2019 (Zeitschrift für digitale Geisteswissenschaften / Sonderbände 4), Online-Ressource, DOI: 10.17175/sb004_005. Im vorliegenden Kritischen Bericht wurde auf die Hypostasierung dieser möglichen weiteren nicht überlieferten Quelle verzichtet. 30 | Webern an Königer, 11. Januar 1912 (A-Wn, HS 975/7–8). 31 | Webern an Berg, 25. Januar 1912 (zitiert nach Briefwechsel Anton Webern – Alban Berg, hg. von Simone Hohmaier und Rudolf Stephan [Briefwechsel der Wiener Schule 4], Druck in Vorbereitung): „Ich habe vorgestern die Korrektur meines Liedes[,] das im ‚blauen Reiter‘ erscheint[,] bekommen. Du auch die Deines Liedes? Von Schönberg kommt das neue Lied ‚Herzgewächse‘“. 32 | Webern an Schönberg, 13. Juni 1912 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21913]): „Den ‚blauen Reiter‘ habe ich endlich erhalten.“ 33 | Webern an Berg, 19. Februar 1912 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]). Schönbergs Zweites Streichquartett op. 10 war im Februar 1909 als „Straube-Druck“ erschienen. Mit dem „ersten“ Quartett Weberns sind die Fünf Sätze für Streichquartett M 147–151 gemeint, in Abgrenzung zu den 1911 komponierten Vier Stücken für Streichquartett M 171–174, deren spätere Textfassungen in die Sechs Bagatellen für Streichquartett op. 9 eingegangen sind. Entsprechend grenzen sich die „älteren 6 Orchesterstücke“ M 152–157 von den ebenfalls bereits 1911 komponierten Orchesterstücken M 169–170 ab, die später Teil der Fünf Stücke für Orchester op. 10 wurden. 34 | Arnold Schönberg, Berliner Tagebuch, hg. von Josef Rufer, Frankfurt am Main: Propyläen, 1974, S. 25 (15. Februar 1912). Vgl. auch ebd., S. 20 (5. Februar 1912): „Weberns ‚Passacaglia‘ angesehen. Wirklich ausgezeichnet. Sehr gut und höchst originell. Webern wird sicher etwas Außerordentliches.“, sowie ebd., S. 27 (17. Februar 1912): „Abends sind Weberns bei uns. Spielen ein sehr schönes Lied von Webern, das die Winternitz seinerzeit gesungen hat. Sehe jetzt erst, wie schön das ist. Ein echtes Lied; und daß die Winternitz es ebenso sinn- und seelenlos gesungen hat wie meine George-Lieder.“ 35 | Webern an Schönberg, 9. August 1912 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21931]). Zuvor hatte Schönberg Weberns Kompositionen in einem Schreiben an Simrock empfohlen (vgl. Bungardt, „Einleitung“ [Anm. 22], S. 14 f.). 36 | Webern an Schönberg, 10. September 1912 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21939]): „[…] heute habe ich von Simrock meine Kompositionen zurückbekommen. Er kann sie nicht veröffentlichen, schreibt er.“ 37 | Vgl. Webern an Schönberg, 4. Januar 1913 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21970]): „Ich werde demnächst meine Lieder (eine Auswahl) an diesen Verleger schicken. Vielleicht wird doch einmal was draus.“, sowie Webern an Schönberg, 20. Januar 1913 (US-Wc [zitiert nach Digitalisat in A-Was: ID 21975]): „Heute schicke ich endlich an Gadow in Hildburghausen meine Lieder. Ich bin begierig[,] ob was draus wird.“ Zu dem heute kaum bekannten Gadow-Verlag vgl. Rudolf Schmidt, Deutsche Buchhändler. Deutsche Buchdrucker, Band 6, Eberswalde: N. N., 1908, S. 1072: „Der Verlag pflegt neben der Herausgabe der in 7600 Exemplaren verbreiteten ‚Täglichen Nachrichten‘ bezw. des ‚Hildburghäuser Kreisblattes‘ […] in erster Linie den Betrieb von Schulbüchern, Chor-Liedersammlungen und Kalendern. Die Buchdruckerei dient dem Werk-, Akzidenz- und speziell dem Notendruck.“ 38 | Vgl. Hertzka an Schönberg, 24. Juni 1914 (zitiert nach Bungardt, „Einleitung“ [Anm. 22], S. 24): „Wenn im nächsten Jahre die allgemeinen Verhältnisse besser werden und die Amsterdamer Aufführung der Orchesterstücke (Weberns) oder irgend welche Aufführungen von Webern erfolgt sein werden, so will ich von ihm etwas in die Universal-Edition aufnehmen, weil ich weiss, dass ich Ihnen damit eine Freude mache.“ 39 | Webern an Jalowetz, 28. Juni 1914 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 311). Vgl. auch Webern an Schönberg, 25. Juni 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18255]): „Ach Gott, das ist herrlich. Ich muß also bis zur zweiten Hälfte des nächsten Jahres warten. Hertzka versprach mir um diese Zeit sicher etwas zu bringen; den Chor und ein Heft Lieder oder die Violinstücke.“ 40 | Vgl. Bungardt, „Einleitung“ (Anm. 22), S. 25 f.: „[A]ufgrund der neuen Situation verschoben sich die Prioritäten des Verlags, wie die vorhandenen Kapazitäten für erfolgversprechende und ‚zeitgemäße‘ Projekte und Produkte zu nutzen seien: Das waren in erster Linie ‚Kriegsmusik‘ und Musiktheater. Dafür schloss man sowohl 1915 als auch in den folgenden Kriegsjahren durchaus mit ‚für unseren Verlag neuen Komponisten‘ erstmals ab. In den genannten Genres waren Beiträge von Webern aber weder vorhanden noch zu erwarten.“ 41 | Das moderne Lied. Eine Sammlung von 50 Gesängen für mittlere Stimme, hg. von Josef V. v. Wöss, Wien: Universal Edition, 1915. Vgl. auch Berg an Schönberg, 20. Juli 1914 (zitiert nach Briefwechsel Arnold Schönberg – Alban Berg, hg. von Juliane Brand, Christopher Hailey und Andreas Mayer [Briefwechsel der Wiener Schule 3], Band 1, S. 492): „Jedenfalls wird aber dem Webern um ein Lied geschrieben. Ich denke, daß er eins aus seinen Georgeliedern schicken wird.“ 42 | Vgl. Webern an Hertzka, 23. Juli 1914 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 87): „Auf Ihre Zuschrift vom 20. Juli hin schicke ich Ihnen 3 Lieder von mir zur Auswahl. Ich hoffe, dass die Lieder kurz genug sind.“ Vgl. auch Webern an Hertzka, 29. September 1914 (ebd., S. 87 f.): „Ich bitte mich wissen zu lassen, ob die zwei Lieder von mir, die ich der Universal-Edition über deren Aufforderung im Juli zur eventuellen Aufnahme in die Sammlung das „moderne Lied“ einsandte, noch benötigt werden. Wenn nicht, bitte ich mir die Lieder ehestens zurückzuschicken. Ich habe keine anderen Exemplare davon.“ Warum Webern hier nur noch zwei, statt drei Lieder erwähnt, ist nicht klar. 43 | Vgl. Kalmus an Berg, 27. Juli 1914 (zitiert nach Bungardt, „Einleitung“ [Anm. 22], S. 25): „[…] eine Einschiebung Ihres Liedes (und auch des Liedes von Herrn Dr. v. Webern) [würde] eine Umstellung des ganzen Inhaltes verursachen […], so dass wir die bereits beim Stich befindlichen Sachen ganz anders einteilen müssten […].“ 44 | Diese Seite erwähnen (ohne auf die Korrektur der Opuszahl hinzuweisen) auch Elmar Budde: Anton Weberns Lieder op. 3. Untersuchungen zur frühen Atonalität bei Webern, Wiesbaden: Steiner, 1971 (Beihefte zum Archiv für Musikwissenschaft 9), S. 13, und Moldenhauer, Anton von Webern (Anm. 18), S. 104. Auf derselben Titelseite findet sich auch noch der mit Bleistift geschriebene und eingerahmte Titel „5 Lieder | op. 4 [korrigiert aus „5“]“, der sich vermutlich auf die 1923 tatsächlich als Opus 4 veröffentlichten Fünf Lieder nach Gedichten von Stefan George bezieht. Die gesamte Seite ist mehrfach gestrichen und Teil des hinteren Blatts eines für die in H ausgeführte Reinschrift der Fünf Lieder op. 4 als Umschlag verwendeten Bogens. 45 | Vgl. Webern an Jalowetz, 10. Januar 1915 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 332–334, hier S. 333): „Ich hatte mich die Zeit her mit einer Revision, stellenweiser Umarbeitung, Instrumentationsänderung, Copierung u. s. w. meiner bisherigen Sachen beschäftigt. Jetzt ist, glaub ich, alles in Ordnung, soweit ich es zu beurteilen im Stande bin.“ 46 | In diesem Konzert wurden schließlich von Webern wieder die Fünf Sätze für Streichquartett M 147–151 gespielt und die Vier Stücke für Geige und Klavier M 161–164 uraufgeführt. Vgl. „Neue Kompositionen von Alban Berg, Karl Horwitz und Anton von Webern“, 24. April 1911, Wien, Ehrbar-Saal. Abdruck des Programms in Alban Berg, Leben und Werk in Daten und Bildern, hg. von Erich Alban Berg, Frankfurt am Main: Insel, 1976, S. 119. Vgl. auch Webern an Berg, 14. April 1911 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Meine Lieder habe ich gar nicht hier; die sind in Berlin bei meiner Frau. Und die ist jetzt im Sanatorium und außer einer Hausmeisterin ist niemand da, der in die Wohnung kann. Und wenn ich nach Wien komme[,] wird es zu spät sein. In 3 Tagen wird dieses Fräulein die Lieder wohl nicht erlernen. So wird es nicht gehn.“ Wer im Vorfeld als mögliche Sängerin vorgeschlagen worden war, ist nicht bekannt. 47 | Webern an Berg, 2. Juni 1912 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Ich glaube es gienge ganz gut, an Stelle meiner Violinstücke (falls sie eben nicht möglich sind) 4 Lieder von mir zu machen. […] Ich glaube, das kann ja der Winternitz nur recht sein, wenn sie noch was singt an dem Abend. […] Aber hoffentlich ist das alles hinfällig und Rosé spielt.“ 48 | Webern an Schönberg, 7. Oktober 1913 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22024]). 49 | Vgl. z. B. Neue Freie Presse, 20. Februar 1913, S. 13. 50 | Vgl. z. B. „Große Lärmszenen im Musikvereinssaale. Bei einem Arnold[-]Schönberg-Konzert“, in: Neue Freie Presse, 1. April 1913, S. 13. 51 | Vgl. das vor Bl. 1 eingelegte Blatt in C: „Le manuscript fut venus à Marya Freund vers 1914.“ Falls diese Datierung stimmt, wäre sie auch ein Terminus ante quem für die Erarbeitung von Textfassung 3 des Liedes in C und der entsprechenden Korrekturschicht von F. Die Notiz stammt vermutlich von Freunds Sohn, Dodo Conrad („D. C.“). 52 | Vgl. Webern an Schönberg, 12. Oktober 1913 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22025]): „Das Programm werden wir kürzen. Etwa ohne Gesangssachen.“ 53 | Verein für musikalische Privataufführungen in Wien, „Mitteilungen Nr. 5“, 16. März 1919 (A-Was, Resource ID 4957), S. 2 und 7 (Programm-Nummer 45): „Vier Lieder Op. 3 aus ‚Der siebente Ring‘ von Stefan George“. Über den Grund der Auslassung des späteren dritten Liedes ist nichts bekannt: Möglicherweise umfasste Weberns Konzeption der Sammlung zu diesem Zeitpunkt tatsächlich nur vier Lieder, die er dann für die wiederholte Aufführung und den – erst zu diesem Zeitpunkt anvisierten? – Druck änderte. 54 | Vgl. Gottfried Kassowitz an Berg, 7. Juni 1919 (A-Wn, F21.Berg.920/15 Mus Mag): „Die Aufführung der Webern-Lieder war wieder ganz wundervoll […]. […] Hätte ich Ihnen die Webern-Lieder senden sollen? […] Dieselben lagen gestern pünktlich zur Aufführung zum Verkauf aus u. sind dieselben sowohl was den überaus deutlichen u. schönen Stich, als auch die sonstige sehr schöne äußere Ausstattung betrifft sehr gut herausgegeben.“ Vgl. auch Berg an Webern, 18. Juni 1919 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Die gestochenen Lieder hab’ ich nun endlich auch! Sie sind sehr schön ausgefallen. Ich freu mich sehr darüber. Diese Lieder u. Pierrot sind nun die einzigen Noten, die ich hier habe.“ 55 | Vgl. Bungardt, „Einleitung“ (Anm. 22), S. 26: „[D]ie Lieder […] waren auf Initiative Schönbergs und auf Kosten des Vereins bei Waldheim-Eberle gestochen und gedruckt worden.“ 56 | Auf eine Aufnahme dieser möglicherweise nicht überlieferten Quellen in die Quellenübersicht des vorliegenden Kritischen Berichts wurde verzichtet. 57 | Das Widmungsexemplar der Publikation an Schönberg (A-Was, PM_Lg14) ist mit „4. VI. 1919 Mödling“, also zwei Tage vor der vollständigen Aufführung im Verein datiert. Die Widmung lautet: „Liebster Freund, daß ich diese Lieder geschrieben habe, daß sie gesungen wurden und schließlich auch gestochen: Das alles verdanke ich Dir. Meinen Dank dafür auszudrücken[,] vermag ich nur so: nimm wieder die Versicherung meiner immerwährenden Treue und Ergebenheit entgegen. Dein Webern“ 58 | Vgl. Bungardt, „Einleitung“ (Anm. 22), S. 26 und 30, sowie Webern, Briefwechsel mit der Universal-Edition (Anm. 22), Anhang, S. 336 f. Für diese von der Universal Edition übernommenen 137 Exemplare wurde die Verlagsangabe durch eine aktualisierte überklebt. Eine zweite im Sommer 1923 erschienene Auflage der Universal Edition (M) weist (wie auch alle späteren postumen Auflagen) dasselbe Stichbild der Notenseiten auf. 59 | Webern, Briefwechsel mit der Universal-Edition (Anm. 22), Anhang, S. 336 f. 60 | Vgl. ein überliefertes Konzertprogramm in A-Was: CP 5580. Vgl. auch den Brief Rufers an Schönberg vom 2. Dezember 1923 (US-Wc [ztitiert nach Digitalisat in A-Was: ID 15189]): „[L]eider hatte Frl. Jungbauer bei den Webernliedern solches Lampenfieber, daß die ersten 3 Lieder ganz mißlangen, obzwar wir sie 1 Stunde vor der Aufführung nochmals durchsangen u. Alles ganz tadellos war!!“ 61 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 476 f. Vgl. auch Erich Schmid, Lebenserinnerungen, Band 3: Konzertprogramme und Radioaufnahmen, hg. von Lukas Näf unter Mitarbeit von Othmar Wüthrich, Bern: Peter Lang, 2014, S. 48. 62 | Vgl. Ivan Vojtěch, „Die Konzerte des Prager Vereins“, in: Schönbergs Verein für musikalische Privataufführungen, hg. von Horst Weber, München: edition text + kritik, 1984, S. 115–118, hier S. 115. 63 | Vgl. Webern an Hertzka, 21. März 1925 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 106 f., hier S. 107): „[…] Frau Herlinger sang Lieder von mir“, sowie den Kommentar der Herausgeberin. 64 | Vgl. Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936. Shaping a Nation’s Tastes, Cambridge: Cambridge University Press, 1999 (Music in the Twentieth Century 10), S. 345. 65 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 240. 66 | Vgl. das Faksimile des Programms in Moldenhauer, Anton von Webern (Anm. 18), S. 325. 67 | Vgl. Universal Edition (Erwin Stein) an Webern, 18. November 1931 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 171 f., hier S. 171): „[…] Amsterdam führte Deine 4 Lieder op. 12 und 2 Lieder aus op. 3 (welche konnte ich bis jetzt nicht erfahren) am 18. ds. auf“, sowie den Kommentar der Herausgeberin. 68 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 364. 69 | Vgl. Webern an Hildegard Jone, 10. Dezember 1934 (A-Wn, HS 431/1–143): „Montag, d. 17. singt in einem Konzert des Vereines f. neue Musik […] Fr. Mihascek [sic] […] meine Lieder op. 3; (es sind fünf); Steuermann begleitet. Fr. Mihascek [sic] hat seinerzeit als erste das erwähnte Lieder-opus vollständig gesungen. Ich denke, sie wird’s wieder schön machen.“ Vgl. auch [Paul Stefan], „Konzert-Tagebuch“, in: Die Stunde, 19. Dezember 1934, S. 4. Vgl. auch Moldenhauer, Anton von Webern (Anm. 18), S. 379. 70 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 476 f. Vgl. auch Schmid, Lebenserinnerungen, Band 3 (Anm. 61), S. 48. 71 | Vgl. Erich Schmid, Lebenserinnerungen, Band 1: Autobiographie, hg. von Lukas Näf, Bern: Peter Lang, 2014, S. 327, sowie ebd., Band 3 (Anm. 61), S. 53 f. Sehr wahrscheinlich handelte es sich um die gleiche Auswahl an Webern-Liedern wie am 10. Februar 1940 in Basel mit denselben Ausführenden. 72 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 502 f. Im selben Konzert fand auch die Uraufführung der Drei Gesänge op. 23 durch die beiden genannten Ausführenden statt. Die Entstehungsdaten der einzelnen Verlaufsskizzen zu den Vier Liedern op. 12 gruppieren sich in zwei deutlich voneinander getrennte Phasen: Anfang 1915 komponierte Webern zuerst „Der Tag ist vergangen“ M 212 und „Schien mir’s, als ich sah die Sonne“ M 213; im Frühjahr 1917 entstanden Gleich und Gleich M 216 und Die geheimnisvolle Flöte M 217. Beide Zeiträume fallen in eine von ca. 1914 bis Mitte der 1920er Jahre anzusetzende Schaffensperiode, die durch eine Konzentration Weberns auf Vokalkompositionen, insbesondere für Solo-Singstimme mit Ensemblebegleitung geprägt war, von denen die meisten ab 1924 in den Opera 13–19 publiziert wurden (vgl. AWG I/4). Die Vier Lieder op. 12 sind entstehungsgeschichtlich auch in diesem Kontext zu sehen. Die vorliegende Edition ordnet sie mit Blick auf ihre Besetzung für Singstimme und Klavier der Abteilung AWG I/5 zu. Die zeitliche Lücke von über zwei Jahren bei der Komposition der Lieder aus op. 12 hängt zusammen mit einer einschneidenden historischen Zäsur: Der Ausbruch des Ersten Weltkriegs Ende Juli 1914 bedeutete auch für Webern eine Umstellung aller seiner bisherigen Planungen. Nach wiederholten gesundheitlichen Problemen während seiner Engagements als Dirigent an verschiedenen Theatern seit 1909 hatte Webern von August bis Oktober 1913 Therapiesitzungen bei dem Psychoanalytiker Alfred Adler besucht, in deren Anschluss er sich wieder in der Verfassung fühlte, Kapellmeister-Tätigkeiten zu übernehmen. Eine entsprechende Stelle in Stettin (heute Szczecin in Polen) hatte er für Sommer 1914 angenommen, die Verpflichtung wurde aber kriegsbedingt wieder aufgelöst. Stattdessen bemühte sich Webern nun in seiner ersten Begeisterung für das Kriegsgeschehen um eine militärische Einberufung, wurde jedoch auf Grund seines Alters und Gesundheitszustandes erst im November 1914 gemustert und im Februar 1915 im Rahmen einer „Einjährigen“-Schulung zunächst in Klagenfurt und Görz (Gorizia) stationiert.73 Abgesehen von kürzeren Unterbrechungen leistete Webern in der Folge Militärdienst bis Ende 1916. Die beiden im Januar 1915 komponierten Klavierlieder sind Weberns erste nach Kriegsanfang abgeschlossenen Kompositionen und die einzigen, die vor seiner Stationierung entstanden. Nachdem Webern bereits Mitte Dezember 1914 an Heinrich Jalowetz geschrieben hatte, dass er „wieder mit etwas begonnen“ habe,74 berichtete er ihm erneut am 10. Januar – wenige Tage vor der Datierung der Verlaufsskizze von „Der Tag ist vergangen“ M 212 in A (13. Januar 1915) – von der anhaltenden produktiven Phase: „Ich schreibe nun wieder neues, d. h. mach mich eigentlich erst daran.“75 Der Text zu „Der Tag ist vergangen“ M 212 stammt aus Peter Roseggers Roman Peter Mayr, der Wirt an der Mahr. Eine Geschichte aus deutscher Heldenzeit.76 Das Buch handelt von einer historischen Figur der sogenannten Tiroler Freiheitskämpfe nach 1805, deren Gewissensnöte zwischen sozial und religiös fundierter Friedenssehnsucht einerseits sowie politisch-nationalen Emanzipationsbestrebungen andererseits als heiligenähnliches Martyrium dargestellt werden. Webern hatte das Buch Anfang 1915 gelesen, wie aus einem Brief an Arnold Schönberg vom 9. Januar hervorgeht, in dem er eine längere Passage über ein darin beschriebenes religiöses Offenbarungserlebnis zitiert.77 Der Autor Rosegger spielte für Webern aber bereits seit spätestens 1912 eine große Rolle, wie insbesondere aus zahlreichen Erwähnungen in Briefen an Alban Berg und Schönberg deutlich wird.78 Neben Weberns Interesse an der religiösen Sphäre des Buches dürfte auch dessen nationalistischer Tenor seiner eigenen Kriegseuphorie in dieser Zeit entsprochen haben. In dem zweistrophigen (in älteren Ausgaben des Romans: auch vierstrophigen) Text verwendet Rosegger Formulierungen volkstümlich überlieferter Kirchenfahrt-Lieder79 und bettet ihn in die abendliche Szene einer als Massenwallfahrt getarnten militärischen Widerstandsaktion ein, in der einige Pilger die „schwermütigen Töne dieses Liedes“ mit „hellen Stimmen“ singen. Vermutlich entstand die Reinschrift der Textfassung 1 von „Der Tag ist vergangen“ M 212 in B in zeitlicher Nähe zur datierten Verlaufsskizze. Wann genau die Überarbeitung in A und B sowie die daraus resultierende Niederschrift von Textfassung 2 in C erfolgte, ist nicht zu eruieren. Immerhin deutet die sowohl in B als auch in C für den vertonten Text verwendete rote Tinte sowie die Kurrentschrift auf einen ähnlichen Zeitraum, vermutlich noch vor Weberns Stationierung in Klagenfurt. Textfassung 2 diente jedenfalls als Vorlage für den Einzelabdruck von „Der Tag ist vergangen“ M 212 in den Musikblättern des Anbruch im Mai 1922 (E).80 Für die Publikation in der 1925 erschienenen Sammlung Vier Lieder op. 12 (G) erstellte Webern eine eigene Vorlage (Textfassung 3 in F). Webern verzichtete (wie bei vielen anderen seiner Kompositionen auf Texte Roseggers) in allen Niederschriften und Abdrucken dieses Liedes auf eine Angabe des Textautors. In den Vier Liedern op. 12 weist er es als „Volkslied“ aus. In einem Brief an Schönberg vom 21. Januar 1915 berichtet Webern über die Fertigstellung eines „Klavierliedes“ (also vermutlich „Der Tag ist vergangen“ M 212) und erwähnt, dass er zwei weitere Lieder „angefangen“ habe.81 Eines davon dürfte „Schien mir’s, als ich sah die Sonne“ M 213 gewesen sein, dessen Verlaufsskizze in A mit dem 31. Januar 1915 datiert ist. (Bei dem zweiten Lied handelt es sich vermutlich um das nicht vollendete Trakl-Lied „In der Heimat“ M 214.) Der Text von „Schien mir’s, als ich sah die Sonne“ M 213 stammt aus August Strindbergs Stück Gespenstersonate (schwedischer Originaltitel: Spöksonaten). In Weberns Bibliothek hat sich ein Exemplar der deutschen Übersetzung durch Emil Schering erhalten, das mit dem autographen Datumseintrag „2. VII[.] 09.“ (Wilhelmine Mörtls 23. Geburtstag) versehen ist.82 Webern hatte Strindbergs Werke für sich bereits 1908 entdeckt, und der schwedische Autor spielte seitdem sowohl in der Kommunikation mit Schönberg als auch mit Berg eine entscheidende Rolle.83 Das Gedicht erscheint im Dramentext der genannten Ausgabe zweimal als Lied, am Ende des zweiten sowie kurz vor dem Ende des dritten und letzten Akts, in dem die (tödliche) Aussprache zwischen dem „Studenten“ und dem „Fräulein“ erfolgt. Das Lied wird vom Studenten vorgetragen, der beim ersten Mal vom Fräulein „auf einer Harfe“ begleitet wird; beim zweiten Mal, nach dem Tod des Fräuleins, „säuselt [es] in den Saiten der Harfe“. In einer kurzen Skizze für Frauen- und Kinderchor („Schien mir’s, als ich sah die Sonne“ M 198), die von Webern vermutlich nachträglich mit „Winter 1913/1914“ datiert wurde, hatte der Komponist bereits schon einmal eine Vertonung des Texts begonnen, die allerdings nicht über die erste Zeile hinauskam. Die auf der Grundlage der Verlaufsskizze in A erfolgte Niederschrift des Klavierliedes „Schien mir’s als ich sah die Sonne“ M 213 in C weist zahlreiche Überarbeitungsspuren auf, deren Zustand ante correcturam jedoch nicht eindeutig zu bestimmen ist. Die Verwendung von Kurrentschrift sowie der gleichen roten Tinte für den vertonten Text wie in den Niederschriften von „Der Tag ist vergangen“ M 212 in B und C deutet auf eine gewisse zeitliche Nähe der Grundschicht auch von „Schien mir’s als ich sah die Sonne“ M 213 zu diesen hin: möglicherweise entstand es also ebenfalls vor der Stationierung Weberns in Klagenfurt im Februar 1915. Aus Weberns Militärzeit 1915 und 1916 sind keine Kompositionsversuche überliefert. Im Januar 1917 schreibt er an Jalowetz: Ich erhole mich jetzt allmählich von den 2 Jahren – geistig. Jetzt erst spüre ich so recht die Wirkung. Langsam knüpfe ich wieder an, finde mich zu recht. Allmählich fällt mir wieder ein, was ich früher gedacht hatte, wo ich stehn geblieben war.84 Weberns erste vollendete Komposition nach der zweijährigen Militärzeit ist Gleich und Gleich M 216, dessen Verlaufsskizze in A mit dem 31. März 1917 datiert ist. Nach dem 1903 komponierten Klavierlied Blumengruß M 2085 handelt es sich hier um die zweite Goethe-Vertonung Weberns überhaupt. Eine eingehendere Rezeption dieses Dichters durch Webern vor 1917 ist nicht dokumentiert, auch wenn sich Erwähnungen zur Lektüre sporadisch finden.86 Laut seinem eigenhändigen in den 1910er Jahren begonnenen Bücher- und Notenverzeichnis besaß Webern die folgende Ausgabe: Sämtliche Werke. Jubiläumsausgabe in 40 Bänden, Stuttgart und Berlin: Cotta, [1902–1912].87 Weitere Spuren einer kompositorischen Auseinandersetzung mit Goethe-Texten in diesem zeitlichen Umfeld finden sich in zwei weiteren Skizzen bzw. Fragmenten von 1917 (Gegenwart für Gesang [Bariton?] und Klavier M 220) und 1918 (Cirrus für Gesang und Orchester M 235).88 Die Niederschrift der Textfassung 1 von Gleich und Gleich M 216 in C ist vermutlich in zeitlicher Nähe zur Verlaufsskizze entstanden. Sie weist Änderungen im Sinne von Textfassung 2 in F auf, die für die Druckfassung von 1925 erarbeitet wurde. Eine weitere, nicht überarbeitete Niederschrift von Textfassung 1 in D ist u. a. aufgrund der verwendeten lateinischen Schrift für den vertonten Text chronologisch nach C einzuordnen. Über den genauen Zeitpunkt und die Funktion dieser Niederschrift ist nichts bekannt. Die Bezeichnung als „op. 12“ im Titel deutet auf ein Datum frühestens nach April 1920 hin (siehe unten). In einem seiner späteren Vorträge „Wege zur neuen Musik“ von Anfang 1932 erwähnt Webern die Einleitungstakte von Gleich und Gleich M 216 als ein Beispiel für die bereits intuitiv erfassten Prinzipien der späteren Zwölftonkomposition, da in jenen alle zwölf Tonhöhenklassen der chromatischen Skala präsentiert werden: „Das Gesetz war uns damals noch nicht bewußt, aber es war längst gefühlt.“89 Seine nächsten vollendeten Goethe-Vertonungen, die Zwei Lieder op. 19, stammen erst von 1925/26. Diese gehören zu seinen ersten ausdrücklichen Zwölftonkompositionen und sind gleichzeitig seine letzten vollendeten auf Texte Goethes. Die Verlaufsskizze in A von Die geheimnisvolle Flöte M 217 ist mit dem 10. April 1917 datiert, schließt zeitlich also unmittelbar an die Beendigung von Gleich und Gleich M 216 an. (In Briefen an Berg, Jalowetz oder Schönberg aus dieser Zeit erwähnt Webern keine dieser beiden Arbeiten.) Der vertonte Text von Die geheimnisvolle Flöte ist eine freie Nachdichtung eines Gedichts des chinesischen Autors Li Tai-po (lies: Li Bai) aus Hans Bethges zuerst 1907 erschienener Sammlung Die chinesische Flöte. Das in Weberns Nachlass erhaltene Exemplar der vierten Auflage des Buches weist den autographen Datumseintrag „3. 12. 12.“ (sein 29. Geburtstag) auf der Rückseite des vorderen Einbanddeckels auf.90 Einige Gedichte dieser Sammlung waren Webern spätestens bereits ein Jahr zuvor als Vorlage von Gustav Mahlers&ngsp;Lied von der Erde bekannt geworden, dessen Uraufführung er am 20. November 1911 in München beigewohnt hatte.91 Er selbst hatte aus Die chinesische Flöte bereits im Februar 1914 das Orchesterlied Die Einsame M 199 komponiert; im Juli 1917 folgte In der Fremde M 223. Diese beiden Lieder wurden später in die Vier Lieder für Gesang und Orchester op. 13 eingegliedert. Darüber hinaus sind zwei weitere unvollendete Entwürfe Weberns auf Texte aus Die Chinesische Flöte überliefert: Nächtliches Bild M 233 (Herbst 1918) und Der Frühlingsregen M 244 (vermutlich 1920). Die Grundschicht der Niederschrift von Die geheimnisvolle Flöte M 217 in C (Textfassung „0“) lässt sich nicht mehr eindeutig entziffern. Sie dürfte aber, wie im Falle von Gleich und Gleich M 216 in C, in zeitlicher Nähe zur Verlaufsskizze entstanden sein und weist Änderungen mit Tinte und Bleistift auf. Zusammen mit einem ebenfalls nicht mehr eindeutig zu eruierenden Zwischenstadium erfolgten diese möglicherweise bereits im Sinne von Textfassung 1 in F, die für die Druckfassung von 1925 erarbeitet wurde. Die Zusammenstellung der vier Klavierlieder zu einer mit Opuszahl versehenen Sammlung erfolgte spätestens 1920, als Webern in einer vermutlich nach April dieses Jahres für die Universal Edition angefertigten Werkliste auch „4 Klavierlieder“ als „op. 10“ anführt.92 Diese Opuszahl entspricht einer getilgten Zählung auf dem Umschlagblatt von Quelle C, wo sie später zu „op. 12“ korrigiert wurde.93 Diese in Abhängigkeit zur Zählung anderer Werke vorgenommene Änderung erfolgte spätestens Anfang 1921: In einem im Februar erschienenen Artikel von Egon Wellesz werden die Lieder explizit als „opus 12“ angesprochen.94 Die in dieser Publikation enthaltenen Notenbeispiele sind auf der Grundlage von Textfassung 2 von „Der Tag ist vergangen“ M 212 bzw. Textfassung 1 von Gleich und Gleich M 216 angefertigt worden, also vermutlich mit C oder (im Falle von M 216:) D im entsprechenden Korrekturstadium als Vorlage. Im Mai 1922 erschien Textfassung 2 von „Der Tag ist vergangen“ M 212 separat (aber mit Hinweis auf die Zugehörigkeit zu op. 12) als Notenbeilage in den Musikblättern des Anbruch (E). Webern überarbeitete „Der Tag ist vergangen“ M 212 in seinem Handexemplar EH zu Textfassung 3 und Gleich und Gleich M 216 in C zu Textfassung 2. Bis spätestens zum Jahreswechsel 1924/25 erstellte er eine Stichvorlage F der Vier Lieder op. 12, die er in einem Brief an den Direktor der Universal Edition, Emil Hertzka, vom 3. Januar 1925 als eine seiner Arbeiten, die er „derzeit im ‚Vorrat‘ habe“, dem Verlag anbot und offensichtlich kurz darauf übergab.95 Am 12. Juni desselben Jahres sandte er die imprimierte zweite Korrektur des Stiches an den Verlag, am 20. Juni das imprimierte Titelblatt.96 Der Druck G der Vier Lieder op. 12 erschien am 30. September 1925 in einer Auflage von 499 Exemplaren.97 Eine begeisterte Reaktion erhielt Webern von Alban Berg, der ihm wenige Tage nach dem Erscheinen der Lieder schrieb: Was für eine große Freude hast Du mir, mein Lieber, mit Deinem Op. 12 gemacht! Das ist wiederum – so wie ja alles von Dir – ein echter Webern. Schon die Zusammenstellung der wundervollen Texte u. die Zusammenziehung zu einem&ngsp;Ganzen! Und gar erst die Musik! Ja es erscheint mir, als sähe ich Dich auf ganz neue Weise. Welch ein Ton in dem Strindberg-lied. Und überhaupt welch eine Vielfalt in den 4 Liedern. Das letzte z. Bsp[.]: eine solche Anmuth. Man kann ruhig sagen: die findet sich sonst in der ganzen Musikliteratur nicht wieder –; so ein Lied von Dir ist für mich geradezu ein Freudenspender, ein Spender einer mein ganzes Sein überstrahlenden Freude. Wie wenn an trüben Tagen plötzlich die Sonne hervorbricht u. man gar nicht weiß, warum man plötzlich froh wird.98 Die Uraufführung des gesamten Opus 12 fand am 8. Januar 1927 im kleinen Saal des Musikvereins Wien mit der niederländischen Sängerin Co van Geuns und Eduard Steuermann am Klavier statt. Im selben Konzert wurde Alban Bergs Lyrische Suite durch das Wiener Streichquartett (Kolisch-Quartett) uraufgeführt sowie Johann Sebastian Bachs Konzert für vier Klaviere BWV 1065 unter Weberns Dirigat gespielt.99 Zur Uraufführung seiner Lieder schrieb Webern an Schönberg einige Tage später lapidar: „Am selben Abend wie das Quartett Bergs wurde auch ein Lieder-Opus von mir uraufgeführt. Das gelang sehr gut.“100 Auch in einer positiven Besprechung des Konzerts der Arbeiter-Zeitung steht die Komposition Bergs im Vordergrund, über die Vier Lieder op. 12 heißt es vergleichsweise kurz: Viel Erfolg hatten auch neue Lieder von Anton W e b e r n , die Co van G e u n s , von Eduard S t e u e r m a n n am Klavier geleitet, mit hervorragender Musikalität vortrug. Hier sind kurze lyrische Gedichte in Tonformen gepreßt, deren Zusammensetzung dem unbefangenen Hörer nicht klar sein kann. Er muß sich also an die Ausdruckswerte halten, die reichlich zu finden sind, auch wenn es durch die merkwürdige Führung der Gesangstimme schwer ist, ihr immer zu folgen. Die Lieder wurden wiederholt und dadurch leichter verständlich gemacht.101 Laut einem Tagebucheintrag Weberns war Gleich und Gleich M 216 bereits im Oktober 1926 von einer holl.[ändischen] Sängerin“ gesungen worden,102 vermutlich ebenfalls von van Geuns, die einige Zeit nach der Uraufführung der Vier Lieder op. 12 Anfang Januar 1927 auch in Köln mit Liedern von Webern (also wahrscheinlich auch aus op. 12) und von Alexander Zemlinsky auftrat.103 Wie bei den George-Liedern wurde bei mehreren Aufführungen zu Weberns Lebzeiten (und wohl mit dessen Einverständnis bzw. auf seine Anregung hin) wiederholt nur eine Auswahl der Vier Lieder op. 12 gesungen bzw. wurden einzelne Lieder mit solchen aus den George-Liedern op. 3 und op. 4 kombiniert. Nachweisbar sind, neben den erwähnten Aufführungen mit van Geuns, Konzerte an folgenden Daten: – 26. Oktober 1928, London, Wigmore Hall, Ruzena Herlinger und Eduard Steuermann: op. 3/1, 3/2, 3/5, 12/1 und 12/4.104 – 25. Oktober 1929, Brüssel, Palais des Beaux-Arts, Ruzena Herlinger und Stefan Askenase: Lieder aus op. 4 und op. 12.105 – 13. April 1931, Wien, Kleiner Musikvereins-Saal, Aenne Michalsky und Eduard Steuermann: op. 4/1, 3/1, 3/2, 3/5, 12/1 und 12/4.106 – 18. November 1931, Amsterdam, Berthe Seroen und Phons Dusch: op. 3/1, 3/3, 12/2.107 – 2. Dezember 1933, Wien, Kleiner Musikvereins-Saal (Konzert der IGNM zu Weberns 60. Geburtstag), Aenne Michalsky und Eduard Steuermann: Lieder aus op. 3, 4 und 12.108 – 9. Mai 1935, Wien, Musikverein (Konzert der Hertzka-Gedächtnis-Stiftung), Julia Nessy (Gesang): Vier Lieder op. 12.109 – 21. November 1935, Wien, Hagenbund (Konzert des Vereins für neue Musik), Julia Nessy (Gesang): Vier Lieder op. 12.110 – 10. Februar 1940, Basel, Konservatorium (Konzert der IGNM, Ortsgruppe Basel), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf Lieder nach Gedichten von Stefan George op. 4 sowie op. 12/2, 12/4 und 12/1.111 – 28. März 1941, Zürich, Zunfthaus „Zur Saffran“ (Konzert der IGNM, Pro Musica, Ortsgruppe Zürich), Marguerite Gradmann-Lüscher und Erich Schmid: Fünf George-Lieder sowie drei Lieder aus op. 12.112 Zu den meisten der Ausführenden hatte Webern persönlichen Kontakt und in einigen Fällen bei der Einstudierung mitgewirkt. In seinem Handexemplar der Vier Lieder op. 12 (GH) finden sich verschiedene Zeitangaben zu den einzelnen Liedern. Ob diese im Zusammenhang mit einer der genannten Aufführungen stehen, ist nicht nachweisbar. 73 | Zu diesen und den im weiteren Kriegsverlauf folgenden biographischen Stationen vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 157–170 und 189–201. 74 | Webern an Jalowetz, 18. Dezember 1914 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 329 f., hier S. 329). Möglicherweise bezieht sich Weberns Bemerkung auf einige Fragmente, die in Moldenhauers „Werkverzeichnis“ numerisch unmittelbar vor „Der Tag ist vergangen“ M 212 eingeordnet und dort auf „1914“ bzw. „1914 oder später“ datiert wurden, d. h. M 207–211. Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 642 und 660. 75 | Webern an Jalowetz, 10. Januar 1915 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 332 f., hier S. 333). 76 | Erstdruck Wien: A. Hartleben, 1891. Webern benutzte vermutlich die überarbeitete Fassung des Romans in den „Gesammelten Werken“ Roseggers, Bd. 19, Leipzig: Staackmann, 1914, S. 214 („Der Tag ist vergangen …“): Rosegger_PM. Vgl. Elisabeth Kaiser, Rosegger-Rezeption bei Anton Webern, Frankfurt am Main: Peter Lang, 2013, S. 77. 77 | Webern an Schönberg, 9. Januar 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18237]). 78 | Für eine Übersicht der nachgewiesenen Rosegger-Lektüren Weberns vgl. Kaiser, Rosegger-Rezeption (Anm. 76), S. 38–41. Am 3. September 1914 schrieb Webern begeistert an Berg, dass er den Schriftsteller auf einer Zugfahrt von Klagenfurt nach Wien gesehen habe (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Ich habe in Krieglach den Rosegger gesehn (auf der Rückfahrt)[.] Wunderbar. Er fuhr eine Station im selben Zug: nach Langenwang.“ 79 | Vgl. Kaiser, Rosegger-Rezeption (Anm. 76), S. 76 f. 80 | Zu dem Lied heißt es im Textteil der Zeitschrift (N. N., „Anton v. Webern“, in: Musikblätter des Anbruch 4/9–10 [Mai 1922], S. 150): „Unsere Notenbeilage vermittelt einen Einblick in das Wesen seiner neuen Kompositionen.“ Die Notenbeilage datiert das Lied gleichwohl richtig auf 1915, also immerhin sieben Jahre zuvor. 81 | Webern an Schönberg, 21. Januar 1915 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18240]). 82 | August Strindberg, Gespenstersonate, in: ders., Kammerspiele, verdeutscht von Emil Schering, München und Leipzig: Georg Müller, 1908 (Strindbergs Werke. Deutsche Gesamtausgabe unter Mitwirkung von Emil Schering als Übersetzer, vom Dichter selbst veranstaltet. I. Abteilung: Dramen. Kammerspiele [Band 9]), [Heft 3], S. 46[c] („Schien mirs, als ich sah die Sonne!“): Strindberg_Gs. Weberns Exemplar in CH-Bps, Sammlung Anton Webern, trägt die Signatur AW B 1129. Der handschriftliche Datumseintrag findet sich auf S. [6]. 83 | Zum „Einfluß Strindbergs“ auf Webern vgl. Ernst Lichtenhahn, „Einleitung“, in: Webern, Briefe an Heinrich Jalowetz (Anm. 10), S. 9–108, hier S. 80–88. 84 | Webern an Jalowetz, 28. Januar 1917 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 355). 85 | In Hans und Rosaleen Moldenhauer, Anton von Webern. A Chronicle of His Life and Work, New York: Alfred A. Knopf, 1979, S. 700 und 720, wird Blumengruß als „M 21“ gezählt. 86 | Vgl. z. B. Webern an Berg, 21. Dezember 1911 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]: „Ich lese „Wilhelm Meister“ und bin aufs höchste beglückt über dieses Buch.“ 87 | Gleich und Gleich findet sich in Bd. 1, Gedichte. Erster Teil, S. 19: Goethe_JA. Exemplare Weberns dieser Ausgabe sind nicht überliefert. Das Verzeichnis findet sich in CH-Bps, Sammlung Anton Webern. 88 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 250. Die Zusammenstellung der beiden Kompositionen zu „Zwei Goethe-Lieder“ (ebd. S. 661) ist eine Setzung Moldenhauers und nicht durch die Quellen selbst dokumentiert. 89 | Anton Webern, Wege zur neuen Musik, hg. von Willi Reich, Wien: Universal Edition, 1960, S. 55 (Vortrag vom 12. Februar 1932). 90 | Hans Bethge, Die chinesische Flöte, Leipzig: Inselverlag, 4[1914] S. 35 (Die geheimnisvolle Flöte): Bethge_DchF. Weberns Exemplar in CH-Bps, Sammlung Anton Webern, trägt die Signatur AW B 1027. 91 | Tatsächlich kannte Webern die von Mahler für Das Lied von der Erde eingerichteten Texte bereits vor der Uraufführung. Vgl. Webern an Berg, 30. Oktober 1911 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]): „Wenn Du in beiliegendem Blatt den Schluß der Dichtung vom ‚Lied der Erde‘ gelesen hast, mein Lieber, erwartest Du Dir dann nicht das Wunderbarste von der Musik, das es gibt; etwas so Herrliches, wie es nie existiert hat. ‚Du mein Freund, mir war auf dieser Welt das Glück nicht hold! Wohin ich geh’ und wandere in die Berge, ich suche Ruhe, Ruhe für mein einsam Herz!...‘ Um Himmels willen, welche Musik muß das sein! Ich bilde mir ein, ich muß schon jetzt darauf kommen, bevor ich sie noch hörte. Mensch, kannst Du das aushalten. Ich nicht.“ Zu dem eminenten Eindruck von Mahlers Komposition auch im Zusammenhang der vermeintlich ‚chinesischen‘ Texte auf Webern vgl. Matthias Schmidt, „Übersetzung ohne Original? Gustav Mahler, Anton Webern und Li Bai“, in: Der doppelte Po und die Musik. Chinesisch-rätoromanische Studien, besonders zu Li Po, Harry Partch und Chasper Po, hg. von Mathias Gredig, Marc Winter, Rico Valär und Roman Brotbeck unter redaktioneller Mitarbeit von Daniel Allenbach, Würzburg: Königshausen & Neumann, 2021, S. 281–299. 92 | A-Wst, Depositum Universal Edition, Anton Webern. Abbildung und Transkription dieser Liste in Julia Bungardt, „Einleitung“ (Anm. 22), S. 28 f. Die Werkliste reicht bis zu den hier als „op. 12“ gezählten Trakl-Liedern op. 14. 93 | Im Umfeld dieser Korrektur lässt sich auch eine „13“ in einer weiteren radierten Schicht entziffern. 94 | Egon Wellesz, „Anton von Webern: Lieder opus 12, 13, 14“, in: Melos 2/2 (Februar 1921), S. 38–40. Vgl. auch Webern an Jalowetz, 13. März 1921 (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 481): „In Scherchens Zeitschrift ‚Melos‘ war ein Aufsatz des Wellesz über Lieder op. 12, 13. u. 14. von mir. Das hat mich sehr gefreut.“ 95 | Webern an Hertzka, 3. Januar 1925 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 101–104, hier S. 101). Vgl. auch Webern an Hertzka, 21. März 1925 (ebd., S. 106 f., hier S. 106): „Schon Anfang Jänner brachte ich Ihnen ein Heft von 4 Klavier-Liedern, op. 12, u. Sie stellten mir damals deren baldiges Erscheinen in Aussicht.“ Ein erster Vertrag datiert vom 5. Februar 1925, ein revidierter Vertrag vom 3. April 1925. 96 | Vgl. Webern an die Universal Edition, 12. Juni und 20. Juni 1925 (ebd., S. 110 f.). 97 | Vgl. ebd. (Anhang), S. 340 f. 98 | Berg an Webern, 12. Oktober 1925 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]). 99 | Vgl. Ankündigung des Konzerts in: Neue Freie Presse, 5. Januar 1927, S. 9. Laut einer Besprechung der Uraufführung der Lyrischen Suite Bergs, ging dieser noch eine Wiedergabe von Ludwig van Beethovens Klaviertrio in Es-Dur op. 70/2 voraus (vgl. Neues Wiener Journal, 12. Januar 1927, S. 11: ohne Erwähnung der Lieder Weberns und des Bach-Konzerts). Laut einer Ankündigung in: Die Stunde, 9. Januar 1927, S. 1, sang Co van Geuns am folgenden Tag noch einmal „Lieder von Anton Webern“ im kleinen Saal des Musikvereins. Über Einzelheiten dieses Konzerts ist nichts bekannt. In einem Brief an Jalowetz von 20. Dezember 1926 schreibt Webern von insgesamt sechs Liedern, die im Januar aufgeführt werden sollten: „Im Jänner singt eine holländische Sängerin 6 Lieder von mir hier in Wien.“ (Webern, Briefe an Heinrich Jalowetz [Anm. 10], S. 570). Möglicherweise hatte van Geuns eine Kombination der Lieder aus op. 12 mit George-Liedern Weberns vorbereitet. 100 | Webern an Schönberg, 17. Januar 1927 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22230]). 101 | pp. [Paul Pisk], „Neue Musik im Konzertsaal“, in: Arbeiter-Zeitung [Wien], 11. Januar 1927, S. 7. 102 | Anton Webern, Notizbuch (CH-Bps, Sammlung Anton Webern). Zitiert nach Moldenhauer, Anton von Webern (Anm. 18), S. 240. Über die Einzelheiten dieses Konzertes ist nichts bekannt. 103 | N. N., „Konzertierende Künstler und neue Musik“, in: Musikblätter des Anbruch 9/3 (März 1927), S. 153: „Co van G e u n s sang in Köln Lieder von Webern und Zemlinsky mit Erfolg.“ Vgl. auch Webern, Briefe an Heinrich Jalowetz (Anm. 10), S. 572. 104 | Vgl. Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936 (Anm. 64), S. 345. 105 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 240. Vgl. auch ebd.: „Im gleichen Jahr waren drei der Vier Lieder in Frankfurt zu hören.“ 106 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 325 (Abbildung des vollständigen Programms). 107 | Vgl. Universal Edition (Erwin Stein) an Webern, 18. November 1931 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 171 f., hier S. 171): „[…] Amsterdam führte Deine 4 Lieder op. 12 und 2 Lieder aus op. 3 (welche konnte ich bis jetzt nicht erfahren) am 18. ds. auf“, sowie den Kommentar der Herausgeberin. 108 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 364. 109 | Vgl. Webern an Josef Humplik, 8. Mai 1935 (A-Wn, HS 431/1–157): „Morgen abend, um ½ 7 werden in einer Veranstaltung der Hertzka-Gedächtnis-Stiftung Lieder von Schönberg, Berg u. mir [4 Lieder op. 12] gesungen […].“ Dass es sich bei der Sängerin um Nessy handelte, ergibt sich aus dem Zusammenhang mit der Aufführung der Vier Lieder op. 12 am 21. November 1935 (siehe unten Anm. 110). Wer die Klavier-Begleitung übernahm, ist nicht nachweisbar. 110 | Vgl. H. E. H., „Neue Musik im Hagenbund“, in: Wiener Zeitung, 23. November 1935, S. 9. Als Pianistin bzw. Pianist waren Olga Novacovic bzw. Eduard Steuermann an diesem Konzert beteiligt. Wer von diesen beiden Weberns Lieder begleitet hat, ist nicht nachweisbar. Moldenhauer, Anton von Webern (Anm. 18), S. 409, gibt irrtümlich an, dass an diesem Konzert Weberns Konzert op. 24 unter seiner Leitung aufgeführt worden wäre. Webern hatte diese angekündigte Aufführung jedoch zurückgezogen, die Vier Lieder op. 12 dienten als Ersatz. Vgl. Webern an Jone und Humplik, 20. November 1935 (A-Wn, HS 431/1–169): „Nun muß ich Euch mitteilen, dass ich mein ‚Konzert‘ für morgen zurückgezogen habe […]. […] Es ist möglich, dass statt des „Konzertes“ die Lieder gesungen werden, die Ihr den Mai dieses Jahres gehört habt. [Da dieselbe Sängerin sowieso mitwirkt.]“ Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Anton Webern und Minna Webern – Hildegard Jone und Josef Humplik. Korrespondenz 1926–1949, hg. von Barbara Schingnitz, Dissertation, Universität Basel, 2019. 111 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 476 f. Vgl. auch Erich Schmid, Lebenserinnerungen, Band 3 (Anm. 61), S. 48. 112 | Erich Schmid, Lebenserinnerungen, Band 1 (Anm. 71), S. 327, sowie ebd., Band 3 (Anm. 61), S. 53 f. Sehr wahrscheinlich handelte es sich um die gleiche Auswahl an Webern-Liedern wie am 10. Februar 1940 in Basel. Die Anfang 1933 begonnenen und im März 1934 fertiggestellten Drei Gesänge aus Viae inviae von Hildegard Jone op. 23 sind Weberns erste Klavierlieder, die auf der Grundlage der „Komposition mit zwölf Tönen“ – wie Webern in der Regel die Zwölftontechnik bezeichnet – geschrieben wurden, und seine erste vollendete Vokalkomposition seit den Ende 1925 bis Sommer 1926 entstandenen Zwei Liedern für gemischten Chor mit Begleitung von Celesta, Gitarre, Geige, Klarinette und Bassklarinette op. 19. Der von Webern im Titel verwendete Terminus „Gesang“ deutet auf die im Vergleich zu den meisten anderen seiner Vokalkompositionen ausgedehnte Länge der einzelnen Stücke hin. Sie sind zugleich Weberns erste Komposition auf Texte von Hildegard Jone, deren Lyrik die Grundlage für alle weiteren fertiggestellten Vokalkompositionen Weberns bilden sollte. Webern lernte Jone und ihren Ehemann, den Bildhauer Josef Humplik, vermutlich im Herbst 1926 bei einer Ausstellung des Hagenbundes in Wien kennen. Aus der Bekanntschaft entwickelten sich spätestens 1928 Pläne für eine Zusammenarbeit zwischen Jone und Webern,113 die zu „drei Operntexte[n]“ Jones führten.114 Ob sich Weberns über ein Jahr später erfolgte briefliche Äußerung an Jone, „[ü]ber ihre Bühnendichtungen“ sprechen zu wollen,115 auf diese oder andere Texte der Dichterin bezieht, ist unklar; Jone hatte aber wohl nach wie vor die Absicht, für Webern „ein ‚Opernbuch‘ […] zu schreiben“.116 Im September 1930 entschuldigte sich Webern jedenfalls dafür, dass Ihre so schönen Bühnendichtungen mich offenbar, trotzdem ich damals sehr ernstlich damit umgegangen war, Derartiges zu komponieren, doch nicht in richtiger Bereitschaft für eine solche Arbeit angetroffen hatten.117 Stattdessen bittet er sie im selben Brief darum, einen Kantatentext für ihn zu schreiben.118 Gedichte Jones, die sich zeitnah auf diese Aufforderung beziehen, sind jedoch nicht bekannt. („Kantaten“ auf Texte Jones komponierte Webern dann bekanntlich erst zwischen 1935 und 1943 in Das Augenlicht op. 26 sowie in der Kantate Nr. 1 op. 29 und der Kantate Nr. 2 op. 31.) Unabhängig von derart konkreten Überlegungen zu möglicher Zusammenarbeit schickte die Lyrikerin Webern immer wieder Manuskripte ihrer Gedichte.119 Es ist vor diesem Hintergrund immerhin bemerkenswert, dass Weberns tatsächliche erste Vertonung von Gedichten Jones nicht in vorgängiger Absprache mit der Dichterin geschah, sondern auf einer bereits publizierten Sammlung beruhte: Viae inviae war im Herbst 1932 in der Zeitschrift Der Brenner veröffentlicht worden.120 Der Gedichtzyklus ist dem im Oktober 1931 verstorbenen Philosophen Ferdinand Ebner gewidmet, dessen Fragment von 1916 (zusammen mit einem kurz vor seinem Tod geschriebenen „Nachwort“ dazu) Jones Gedichtsammlung in der Zeitschrift vorangestellt ist.121 Webern war auf Vermittlung Jones hin Ebner kurz vor dessen Tod noch persönlich begegnet.122 Bereits zuvor hatte Jone Webern immer wieder mit Ideen Ebners, als dessen Herausgeberin sie auch später weiterhin tätig blieb, konfrontiert. Eine explizite Auseinandersetzung Weberns mit den Schriften Ebners lässt sich allerdings nur sporadisch – und erst ab 1934 – nachweisen, eine implizite Rezeption durch die Texte Jones dagegen ist gleichwohl offenkundig.123 Die Gedichte in Viae inviae sind in zwei mit römischen Ziffern bezeichnete Abteilungen gegliedert: Abteilung I beginnt mit einem Dem einsamen Wanderer überschriebenen Prolog und enthält in der Folge den Binnenzyklus Heimgang des Lebens, der sich in drei mit arabischen Ziffern unterteilte Abschnitte gliedert.124 Bei den von Webern in Opus 23 vertonten Texten handelt es sich um den 3. Abschnitt von Heimgang des Lebens, der seinerseits in acht unterschiedlich lange Versgruppen unterteilt ist. Weberns drei Gesänge setzen sich zusammen aus den Versgruppen 1–4 („Das dunkle Herz…“), 5–6 („Es stürzt aus Höhen…“) und 7–8 („Herr Jesus mein…“), die in chronologischer Hinsicht jedoch nicht in der Reihenfolge der Textvorlage komponiert wurden, auch wenn die Anordnung der fertiggestellten Gesänge die originale schließlich nicht veränderte. Die ersten Skizzen in A (Skizzenbuch 3) zu op. 23 sind mit „1. II. 33“ datiert und betreffen „Herr Jesus mein“ M 312 (M 312 Sk1, M 312 Sk1.1 und M 312 Sk2), also die beiden letzten Versgruppen des 3. Abschnittes von Heimgang des Lebens. Webern skizzierte eine Gesangslinie zu den ersten Worten des Gedichts und entwickelte daraus eine Zwölftonreihe. Im betreffenden Skizzenbuch unterbrechen diese und die folgenden Skizzen zu op. 23 die Arbeit am Konzert für Flöte, Oboe, Klarinette, Horn, Trompete, Posaune, Geige, Bratsche und Klavier op. 24, dessen erste Skizzen bereits von Anfang 1931 datieren und bis zum Herbst 1932 nicht über 30 Takte des ersten Satzes hinausgekommen waren.125 Tatsächlich hatte Webern seit Mitte 1931 durch gesundheitliche Probleme, Wohnungswechsel sowie vor allem zahlreiche Dirigierverpflichtungen im Jahr 1932 kaum Zeit und Muße für kompositorische Arbeit gefunden. Am 3. März 1933 berichtete Webern der Dichterin über die ersten Skizzen zu „Herr Jesus mein“ M 312 und klagte über den Zeitmangel auch im Zusammenhang dieser neuen Komposition: Ich bin recht in Bedrängnis: ärger denn je bedrückt es mich, nicht Zeit zum Komponieren zu haben. Ganz spontan hatte ich eines Tages die Komposition Ihres schönen, wundervollen Gedichtes angefangen, mußte aber bald wieder unterbrechen u. es rächt sich schon, dass ich mir erlaubt habe, im Jänner u. Feber so hie u. da bei unserer Arbeit zu sitzen. Nun bin ich so im Rückstand mit den anderen Dingen, der Vorbereitung für meine Konzerte: hier u. in London. Wie soll ich’s mir nur machen? Dass ihr Gedicht die „Freude“ heißt, ist ja wunderbar.126 Offensichtlich hatte Webern bereits vor diesem Brief Jone von „unserer Arbeit“ berichtet und der von Webern hier angesprochene Titel Die Freude bezieht sich auf eine daraufhin von Jone erfolgte Mitteilung, dass die von Webern komponierten Verse (in einer von der Publikation im Brenner unabhängigen Manuskriptfassung) Teil eines eben so genannten Gedichtes sind.127 Als Kompositionsgrundlage dürfte Webern aber immer die veröffentlichte Fassung herangezogen haben.128 Erst zwei Monate später, in denen Webern neben einem Konzert im Großen Konzerthaussaal in Wien am 19. März129 auch mit seiner wöchentlich stattfindenden Vortragsreihe „Wege zur neuen Musik“ beschäftigt war,130 begann er Anfang April mit der Arbeit an der Klaviereinleitung (M 312 Sk3) und schrieb den Beginn der Verlaufsskizze bis Takt 8 (M 312 Sk4). Ein Neuansatz dieser Verlaufsskizze ab Takt 4 ist mit „31. V. 33“ datiert (M 312 Sk4 T. 4B–5C), wurde also erst nach Weberns Rückkehr von seiner Konzertreise nach London (16.–26. April) sowie einem Rundfunkkonzert am 23. Mai mit Mahlers Sechster Symphonie begonnen.131 Die Schlussdatierung der Verlaufsskizze lautet „Maria Enzersdorf | 14. VII. 33“. Nach einem Rundfunkkonzert am 21. Juli132 fing Webern damit an, einen weiteren Gesang zu skizzieren, diesmal auf der Grundlage des im Brenner auf derselben Druckseite direkt über den bereits vertonten Versen stehenden Texts („Es stürzt aus Höhen“ M 313). In einem Brief vom 29. Juli berichtet er Jone über die Fertigstellung des zuvor begonnenen Gesangs sowie der aufgenommenen Arbeit an dem neuen: Ich habe schon gut gearbeitet. Der eine Ihrer mich immer mehr erfüllenden Texte ist schon fertig. Das ist von „Herz Jesus mein“ bis „Und, ewig Schlafende, auch euch erwartet Tag“. Und nun verbinde ich „Es stürzt aus Höhen Frische“ – wie wundervoll diese Wort-Substanz – bis „überglüht noch lange Glut“ zu einem zweiten Gesang. Doch wird die Reihenfolge der beiden Gesänge der Ihrer Gedichte entsprechen. Wie tief berühren sie mich. Und ich bin so froh, endlich in diese Lage (einer Komposition Ihrer Werke) gekommen zu sein. Lange hatte ich es mir schon gewünscht. Nachdem ich mit der Arbeit an dem ersten Gesang fertig war, mußte ich auf 8 Tage unterbrechen, da ich noch ein Radio-Konzert zu dirigieren hatte. Ich wollte es schon ablehnen. Aber schließlich – nun Sie wissen ja die Gründe.133 Die vermutlich durch den Ferienaufenthalt „auf eine[r] circa 1600 m hohe[n] Alm bei Kitzbühel in Tirol“134 Anfang August unterbrochene Arbeit an der Verlaufsskizze zu diesem zweiten Gesang wurde laut Datierung in A am „18. VIII. 33“ fertiggestellt (M 313 Sk4 T. 30C). In einem Brief an Jone vom 3. September wurden die beiden bis zu diesem Zeitpunkt vorliegenden Gesänge zunächst als „vorläufig“ beendetes Projekt deklariert: Ich habe vorläufig die Komposition von Texten aus Ihrem „Viae inviae“ beendet. Es ist so gekommen, wie ich es vorhatte: 1. Lied: „Es stürzt aus Höhen“ bis „den Himmel u. die Seele überglüht noch lange Glut.“ 2. „Herr Jesus mein“ bis „auch euch erwartet Tag.“ (also die ganze Seite 65 aus dem „Brenner“). Ich sage „vorläufig“[,] weil ich die Empfindung habe, bald wieder auf Worte von Ihnen zurückkommen zu müssen. Doch glaube ich einstweilen wenigstens, sollen zunächst diese 2 Lieder für sich allein bleiben. Sie schließen sich musikalisch zu einem Ganzen zusammen; im Sinn einer gewissen Gegensätzlichkeit. Zur Zeit bin ich wieder an einer rein instrumentalen, schon vor Längerem begonnenen Arbeit. Wie sehr hatte mich die an ihren Worten glücklich gemacht!135 Ebenfalls Anfang September 1933 nahm Webern zunächst die Skizzierung des ersten Satzes vom Konzert op. 24 im selben Skizzenbuch wieder auf, jedoch ohne diese Arbeit zu einem Abschluss zu bringen oder auch nur kontinuierlich weiterzuführen. Ende desselben Monats plante er, der Dichterin beide der bis zu diesem Zeitpunkt vorliegenden Gesänge aus op. 23 bei einem ihrer Aufenthalte in Wien vorzuführen: Nun kommen Sie ja, Gott sei Dank, auch bald nach Wien. […] Was Sie wohl zu meinen Liedern nach Ihren Worten sagen werden? Wie wird Ihnen das vorkommen, wenn Ihr Wort als Musik erscheint? Könnte ich nur weiter arbeiten. Ich hoffe, im Okt. wieder darangehn zu können.136 Erst Anfang Januar 1934 arbeitete Webern mit ersten Skizzen in A zu dem Lied „Das dunkle Herz“ M 314 weiter an op. 23 (M 314 Sk1, M 314 Sk2 und M 314 Sk3; Datierungen vom „3. I. 1934“ und „5. I. 34“). Dessen Text stellt den Beginn der im Brenner zu einer nummerierten Einheit zusammengeschlossenen Verse dar und komplettiert in dieser Hinsicht die beiden bereits komponierten Gesänge. In einem Brief an Jone betonte Webern, dass die Reihenfolge der Verse im Druck weiterhin auch die Anordnung des zu drei Gesängen angewachsenen Zyklus bestimmen soll: Jetzt bin ich endlich wieder bei der Arbeit. Es wird: „Das dunkle Herz, das in sich lauscht...“ Alles, was von da ab auf der Seite steht, also bis dahin, wo ich schon war: „Es stürzt aus Höhen Frische…“ und soll, wie in Ihrer Anordnung, diesem u. dem folgenden „Herr Jesus mein…“ vorangehn. Mir kommt vor, ich habe den Zustand, zu arbeiten, noch niemals so empfunden, wie jetzt. Hoffentlich kann er etwas dauern!137 Die Arbeit an der am 5. Januar begonnenen Verlaufsskizze (M 314 Sk3) wurde durch Weberns Rundfunkkonzert mit Felix Mendelssohn Bartholdys Violinkonzert und Dritter Symphonie am 28. Januar 1934 unterbrochen.138 Eine weitere Zäsur bedeuteten die am 12. Februar in Wien und anderen größeren Städten Österreichs ausgebrochenen und bis zum 15. Februar andauernden Kämpfe zwischen dem paramilitärischen Republikanischen Schutzbund der Sozialdemokratischen Partei und der militärischen und polizeilichen Exekutive des Dollfuß-Regimes. Diese Ereignisse sollten weitreichende Folgen für Weberns künstlerische Biographie als Dirigent haben (siehe zu Drei Lieder op. 25) und schränkten auch kurzfristig seine Disposition zur weiteren Komposition des begonnenen Gesangs ein, wie in einem Brief an Jone vom 14. Februar deutlich wird: Liebste Frau Jone, die Aufregungen der letzten Tage sind ungeheuer u. werden es immer mehr. Es ist kaum möglich[,] einen Gedanken zu fassen […]. […] Und vergangene Woche habe ich doch wieder jeden freien Augenblick benützt, um an den Gedichten [sic] „Das dunkle Herz“ weiterzuschreiben. Ich hatte wieder etwas freie Zeit. […] Und jetzt wieder – Frau Jone! Geschützdonner, Maschinengewehrgeknatter. –139 Am 20. Februar berichtete Webern dann in einem Brief an Humplik, dass er gleichwohl in der Verlaufsskizze bis zur Textstelle „an das Wartende im Dunkel“, also bis Takt 15 angelangt sei.140 Anfang März hatte er inzwischen bis Takt 24 weitergearbeitet: „Ich bin in meiner Arbeit bis: … ‚ein goldenes Flattern trägt:‘ gekommen u. setze morgen fort. Ich habe noch etwas freie Zeit vor mir.“141 Die komplette Skizzierung der Singstimme vermeldete er am 11. März,142 die fertiggestellte Verlaufsskizze ist schließlich mit „15. III. 34“ datiert. In einem darauffolgenden Brief an Jone beschrieb Webern den neuen Gesang vergleichsweise ausführlich und schlug darüber hinaus den Titel der nun vollständigen Sammlung vor: Inzwischen ist das dritte Lied fertig geworden. Da es die Worte von „Das dunkle Herz…“ bis „…ich und du und alle“ umfaßt, ist es recht lang geworden u. stellt der musikalischen Form nach eigentlich eine Art „Arie“ dar: bestehend aus einem langsamen Teil u. ab „ich bin nicht mein…“ einem schnelleren, der aber trotzdem die Tempovorschrift „Ganz ruhig“ trägt. Er – dieser 2. Teil – ist fast im Flüsterton gehalten. Vielleicht können Sie doch aus dieser Beschreibung ungefähr entnehmen, wie ich im Besonderen den 2. Teil Ihrer Worte aufgefaßt habe: nach einem großen Aufschwung des ersten[,] ganz unvermittelt völlige Stille, Ruhe, Einfachheit. Den Titel habe ich mir so gedacht: Drei Gesänge aus Viae inviae. Kann ich diesen Titel Ihrer Gedichte übernehmen? Bald sende ich Ihnen das Manuscript.143 An Alban Berg führte er in einem eine Woche später geschriebenen Brief die formale Disposition auch der anderen Gesänge näher aus: Ich habe gerade ein drittes Lied (nach Jone-Texten) fertig gestellt. Eigentlich ist es eine Arie, bestehend aus einem langsamen Teil u. einem schnelleren. Es wird das erste sein. Und ich habe bemerkt, dass auch die beiden früher entstandenen eigentlich was anderes sind als Lieder (der Form nach): das eine ist direkt ein Recitativ mit einem Arioso, das andere (in der Folge jetzt letzte) ein Rondo. So bin ich, ohne es direkt gewollt zu haben, in diesem opus eigentlich zur Auseinandersetzung mit größeren vokalen Formen gelangt. Am Ende komme ich doch noch zu einer Oper.144 Ob sich Weberns Formulierung „fertig gestellt“ in diesem Brief rückblickend auf die einige Tage zuvor datierte Verlaufsskizze oder auf eine bereits vollendete Reinschrift bezieht, ist nicht klar. (Möglicherweise hatte er die Reinschriften der beiden anderen Gesänge auch schon zeitnah nach Beendigung von deren Verlaufsskizzen angefertigt.) Die autographe Stichvorlage aller drei Gesänge C gelangte auf jeden Fall noch vor Juli an die Universal Edition und wurde von dieser am 11. Juli zum Verlag angenommen.145 Die Herstellung verzögerte sich jedoch erheblich: Nachdem Webern zunächst noch davon ausgegangen war, dass „die U. E. […] bis zum Herbst meine letzte Arbeit [druckt]“,146 erfuhr er Ende August, dass der Stich der Lieder „wegen anderer termingebundener Arbeiten leider noch nicht begonnen“ hatte.147 Erst im Februar 1935 wurde Weberns Manuskript zum Stich geschickt, dieser Auftrag jedoch gleich wieder storniert. Tatsächlich wurde mit dem Stich erst Anfang Januar 1936 angefangen. Eine erste Korrektur erhielt Webern dann bereits Ende desselben Monats, zwei weitere folgten am 10. und 27. März. Die Drei Gesänge op. 23 erschienen am 4. Mai 1936 in einer Auflage von 302 Exemplaren.148 Bereits 1935 hatte Webern auf eine Aufführung der Drei Gesänge op. 23 durch die Sängerin Julia Nessy gehofft, die jedoch nicht zustande kam.149 Die Uraufführung erfolgte erst am 5. Dezember 1943 in Basel (Konservatorium) und in Abwesenheit des Komponisten, bei einem maßgeblich von Willi Reich initiierten Konzert der dortigen Ortsgruppe der IGNM zum 60. Geburtstag Weberns:150 Marguerite Gradmann-Lüscher, die bereits bei Weberns Schweiz-Aufenthalt 1940 in Basel die Fünf Lieder nach Gedichten von Stefan George op. 4 aufgeführt sowie eine Auswahl der Vier Lieder op. 12 gesungen hatte, wurde begleitet von Paul Baumgartner.151 Die Rezensionen dieses Konzertes in den Basler Zeitungen sind – offensichtlich geprägt durch einen Einführungsvortrag von Reich – auf eine Gesamtschau des „weltfernen“ und damit implizit bereits als quasi historisch verstandenen Komponisten konzentriert: In der Tat vermittelten die zum Teil in Uraufführung dargebrachten Werke den Eindruck von etwas durchaus Einmaligem, Eigenartigem und Weltfernem. Eine Musik höchster geistiger Potenz, Gesetz und Kraft zugleich – man möchte fast sagen: zu wahr um schön zu sein, und damit meinen, dass diese Musik jenseits von Wohlklang und Missklang einzig dem Gebot der Ehrlichkeit und Aufrichtigkeit dient und so die Töne bedingungslos unter das Gesetz des Geistes und seiner Erkenntniskraft zwingt. […] Dahin aber kann und soll die allgemeine Musikentwicklung nicht gelangen, denn diese Dinge zu schauen und im Klang wiederzugeben, vermag nur einer, der sich abseits der Welt begeben hat und der sich nicht um ihr Urteil kümmert – nämlich Anton Webern.152 Über die Drei Gesänge heißt es in einer weiteren Besprechung lediglich: Drei Gesänge aus den „Viae inviae“ von Hildegard Jone, op. 23, erklangen in Uraufführung. Hier wird die ruhige, nur gelegentlich durch große Sprünge zerrissene, zarte Gesangslinie durch heftige, harte Einwürfe der Begleitung gestört.153 Für einen die lyrischen Werke Jones präsentierenden „Abend zeitgenössischer Dichtung“ am 29. November 1944 im Erzbischöflichen Palais in Wien projektierten Jone und Webern eine Zeit lang eine Aufführung sowohl der Drei Gesänge op. 23 als auch der Drei Lieder op. 25,154 die dann von einer namentlich nicht bekannten „schwedischen Sängerin“ und Weberns Schüler Fré Focke auch schon geprobt wurden.155 Letztendlich kam diese Aufführung aber nicht zustande. Weitere Aufführungspläne zu Lebzeiten Weberns sind nicht bekannt. 113 | Vgl. Webern an Jone, 6. August 1928 (A-Wn, HS 431/1–11): „Nun lassen Sie uns hoffen, dass aus unserer gemeinsamen Arbeit etwas wird. Dass ich die Anregung dazu gegeben habe, daraus mögen Sie entnehmen, wie sehr lieb, ja wesensverwandt mir Ihre Denkungsart ist. –“ 114 | Vgl. Jone an Ludwig von Ficker, 28. November 1928 (Brenner-Archiv, Innsbruck [zitiert nach Thomas Reinecke, Hildegard Jone (1891–1963). Untersuchungen zu Leben, Werk und Veröffentlichungskontexten. Zugleich eine Studie zu einigen Figuren im Denken Anton Weberns und den von ihm vertonten Texten, Frankfurt am Main: Peter Lang, 1999, S. 51]): „Ich habe im Herbst drei Operntexte für Anton Webern, der mich im Frühling innig darum gebeten hat, geschrieben: Die Verwandlung der Liebe, Die letzte Begegnung, Die Räume des Innern und seine Gäste.“ Ein Manuskript Jones mit dem Titel Die letzte Begegnung (mit einer Widmung an Ferdinand Ebner) befindet sich in CH-Bps, Sammlung Hildegard Jone (TM 26). Vgl. auch Barbara Schingnitz, [„Einleitung“], in: Briefwechsel Webern und Webern – Jone und Humplik (Anm. 110), S. LXVII ff. 115 | Webern an Jone, 17. Januar 1930 (A-Wn, HS 431/1–35). 116 | Ebd.: „Dass Sie immer wieder daran denken, ein ‚Opernbuch‘ für mich zu schreiben, macht mich sehr froh.“ 117 | Webern an Jone, 8. September 1930 (A-Wn, HS 431/1–48). 118 | Ebd.: „Nun beschäftigt mich sehr die Idee, eine Kantate zu schreiben. Und meine Bitte: würden Sie so einen Text für mich verfassen wollen? Wer sollte es denn sein, als Sie, liebe Frau Jone! Diese Idee läßt mich nicht mehr los u. so mußte ich es sagen.“ Die „Idee, eine Kantate zu schreiben“, dürfte in dieser Zeit auch durch Weberns Proben zu Johann Sebastian Bachs Actus tragicus motiviert worden sein. Vgl. Regina Busch, „Webern, Bach und Kantaten“, in: webern_21, hg. von Dominik Schweiger und Nikolaus Urbanek, Wien: Böhlau, 2009 (Wiener Veröffentlichungen zur Musikgeschichte 8), S. 221–244. 119 | Vgl. die verstreuten Nachweise der Herausgeberin im Kommentar zu Briefwechsel Webern und Webern – Jone und Humplik (Anm. 110). Zu den Schwierigkeiten der Identifizierung einzelner Gedichte und ihrer Fassungen (sowie den daraus resultierenden Ungenauigkeiten eines großen Teiles der betreffenden Forschungsliteratur) vgl. ebd. („Exkurs: Problematik der Quellenlage in Jones Nachlass“), S. XXI: „[I]n den meisten Fällen [sind] die an Webern gesendeten Abschriften von Gedichten bzw. Gedichtsammlungen, soweit sie aus der Korrespondenz erschlossen werden können, nicht eindeutig zu identifizieren, da bis auf wenige Ausnahmen […] in Weberns Nachlass keine autographen (vom Vertonungskontext losgelösten) Jone-Dichtungen mehr befindlich sind. Dass Webern regelmäßig Abschriften von Jone-Texten erhielt und nach einiger Zeit wieder zurücksandte (und sich oft auch Teile daraus abschrieb), wird ebenfalls aus der Korrespondenz deutlich, diese Abschriften lassen sich ebenfalls weder in Weberns noch Jones Nachlass nachweisen.“ Eine Abschrift Weberns aller von ihm vertonten Gedichte Jones (US-Wc, Moldenhauer Archives 59/2) war vom Komponisten nachträglich für die Vorbereitung eines für den 29. November 1944 geplanten „Abends zeitgenössischer Dichtung“ im Frühsommer desselben Jahres angefertigt worden. Vgl. Webern an Jone, 30. April 1944 (A-Wn, HS 431/1–285): „Die von mir komponierten Gedichte habe ich bereits, so wie Du es wünschtest, abgeschrieben […] u. bringe Dir das Heftchen mit […].“ 120 | Hildegard Jone, Viae inviae, in: Der Brenner 13 (1932), S. 60–74, hier S. 64 („Das dunkle Herz“) und 65 („Du stürzt aus Höhen“ und „Herr Jesus mein“): Jone_Vi. Vgl. Webern an Jone, 3. November 1932 (A-Wn, HS 431/1–85): „Auf Ihre Gedichte im ‚Brenner‘ freue ich mich schon sehr.“ 121 | Zum Aufbau dieser gesamten Brenner-Ausgabe als Gedenkheft für Ferdinand Ebner, der in der Zeitschrift wiederholt als Autor tätig gewesen war, sowie den inhaltlichen Bezügen zu dessen Philosophie in Jones Gedichten vgl. Reinecke, Hildegard Jone (Anm. 114), S. 175–187. 122 | Vgl. Ferdinand Ebner, Notizen Tagebücher Lebenserinnerungen, hg. von Franz Seyr, München: Kösel, 1963 (Ferdinand Ebner Schriften 2), S. 1033: „Im Atelier [lies: Humpliks und Jones] Dr. Webern – die Fr. Jone wünscht es.“ 123 | Vgl. Schingnitz, [„Einleitung“] (Anm. 110), S. LI f. 124 | Abteilung II versammelt nach einem titellosen einleitenden Gedicht vier durch arabische Ziffern abgetrennte Abschnitte, die alle in sich abgeschlossene Einzelgedichte enthalten: 1. Das Augenlicht (die spätere Vorlage für Weberns op. 26), 2. Christophorus, 3. Der Berg und 4. Zwischen Tag und Nacht. Im 3. und 4. Abschnitt folgen jeweils durch mit Asterisken abgetrennte Versgruppen, von denen nicht klar ist, ob sie die in den beiden Titeln angesprochenen Texte fortführen oder eigenständige Gedichte darstellen. 125 | Zur langwierigen Arbeit am ersten Satz von op. 24 vgl. Kathryn Bailey, „Symmetry as Nemesis: Webern and the First Movement of the Concerto, Opus 24“, in: Journal of Music Theory 40/2 (Autumn 1996), S. 245–310. 126 | Webern an Jone, 3. März 1933 (A-Wn, HS 431/1–89). 127 | Vgl. Lauriejean Reinhardt, „Webern’s Literary Encounter with Hildegard Jone“, in: Mitteilungen der Paul Sacher Stiftung 5 (Januar 1992), S. 36–40. Ebd., S. 37, das Faksimile eines Jone-Manuskripts mit dem Titel Die Freude, das die meisten der von Webern in Opus 23 vertonten Verszeilen enthält. Es ist allerdings unwahrscheinlich, dass dieses Manuskript vor 1933 entstanden ist und Webern vorgelegen hat. 128 | Vgl. Reinecke, Hildegard Jone (Anm. 114), S. 297 f. 129 | Arbeiter-Symphonie-Konzert: Ernst Krenek, Kleine Blasmusik op. 70A; Paul A. Pisk, Kantate Campanella op. 28; Hanns Eisler, Das Lied vom Kampf. 130 | Vgl. Webern, Wege zur neuen Musik (Anm. 89), S. 9–44. Der Vortragszyklus begann am 20. Februar und endete am 10. April. Die insgesamt acht Vorträge fanden in Regel am Montagabend, zweimal auch dienstags (am 7. und 14. März) statt. 131 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 359, sowie Radio Wien, 19. Mai 1933, S. 42. 132 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 360, sowie Radio Wien, 14. Juli 1933, S. 52. 133 | Webern an Jone, 29. Juli 1933 (A-Wn, HS 431/1–99). Tatsächlich ist der Beginn der ersten Skizze zu „Es stürzt aus Höhen“ M 313 mit „26. VII. 33“ datiert, mithin zwölf und nicht, wie von Webern angegeben, acht Tage nach der Abschlussdatierung der Verlaufsskizze zu „Herr Jesu mein“ M 312. 134 | Ebd.: „Also, ab 4. – ungefähr 10. [August] sind wir nicht da.“ Vgl. auch Moldenhauer, Anton von Webern (Anm. 18), S. 360 f., wo der Aufenthalt in Tirol auf „6.–12. August“ datiert wird. 135 | Webern an Jone, 3. September 1933 (A-Wn, HS 431/1–101). 136 | Webern an Jone, 24. September 1933 (A-Wn, HS 431/1–104). Eine Reaktion Jones auf die beiden Gesänge ist nicht überliefert. 137 | Webern an Jone, 6. Januar 1934 (A-Wn, HS 431/1–116). 138 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 369, sowie Radio Wien, 26. Januar 1934, S. 16. 139 | Webern an Jone, 14. Februar 1934 (A-Wn, HS 431/1–119). 140 | Webern an Humplik, 20. Februar 1934 (A-Wn, HS 431/1–120): „Ich arbeite doch wieder: ‚was wird legt sich mit zarten Wurzeln an das Wartende im Dunkel…‘ Je schrecklicher es wird[,] umso verantwortungsvoller unsere Aufgaben.“ Die Verlaufsskizze M 314 Sk3 artikuliert die Textstelle in mehreren Varianten: T. {12A, 12B, 13A–15A, 12C}, T. {12D, 13B–15B, 16A–17A}, T. {23A–24A}, {13C–15C} und T. {13D–15D}. Siehe auch M 314 Sk3.2. 141 | Webern an Jone, 4./5. März 1934 (A-Wn, HS 431/1–121). Siehe M 314 Sk3 T. 22B–24B, {25B–27B}. 142 | Webern an an Jone, 11. März 1934 (A-Wn, HS 431/1–122): „‚Wir sind nicht unser, ich und du u. Alle‘. Gerade habe ich die Melodie zu Ende skizziert. Sie sehn also, bald wird das Lied zu Ende komponiert sein.“ Vermutlich bezieht sich Webern hier auf M 314 Sk3.4. 143 | Webern an Jone, 20. März 1934 (A-Wn, HS 431/1–123). Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Webern und Webern –Jone und Humplik (Anm. 110): „Ob Webern letztlich […] überhaupt eine Reinschrift der Drei Lieder op. 23 an Jone sandte oder sie ihr überreichte, ist nicht festzustellen; die Korrespondenz suggeriert es nicht. Den Druck des Werks erhielten Jone und Humplik nach dessen Erscheinen bei der Universal Edition […].“ 144 | Webern an Berg, 27. März 1934 (zitiert nach Briefwechsel Anton Webern – Alban Berg [Anm. 31]). 145 | Vgl. Universal Edition (Hugo Winter) an Webern, 11. Juli 1934 (Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 188). Der Verlagsvertrag datiert vom 12. Juli (vgl. den Kommentar der Herausgeberin, ebd., sowie Anhang, S. 344 f.). 146 | Webern an Universal Edition (Yella Hertzka), 12. Juli 1934 (Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 189). 147 | Universal Edition (Erwin Stein) an Webern, 29. August 1934 (Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 196). 148 | Vgl. Webern, Briefwechsel mit der Universal-Edition (Anm. 22), Anhang, S. 344 f. 149 | Vgl. Webern an Josef Humplik, 8. Mai 1935 (Anm. 109). 150 | Reich an Webern, 30. August 1943 (CH-END [Durchschlag]): „Ihr ‚Sechziger‘, auf den Sie so diskret hinweisen, ist mir natürlich schon vorher bewußt gewesen, und ich habe schon allerlei Pläne zur Feier dieses Tages geschmiedet. […] Eine Basler Kammermusikaufführung (das ganze Konzert ausschließlich mit Werken von Webern) ist für Dezember bereits im Rahmen der IGNM gesichert“. 151 | Zum Konzert und seinem vollständigen Programm, u. a. mit den Fünf Liedern op. 3 ebenfalls durch die genannten Ausführenden, vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 502 f. 152 | Bg., in: National-Zeitung, 7. Dezember 1943 (Morgenblatt), S. 4. Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Webern und Webern –Jone und Humplik (Anm. 110) zu Webern an Jone, 4. Dezember 1943. 153 | ay, „Anton Webern in der I. G. N. M.“, in: Basler Nachrichten, 7. Dezember 1943 (2. Beilage). Vgl. auch den Kommentar der Herausgeberin in Briefwechsel Webern und Webern – Jone und Humplik (Anm. 110) zu Webern an Jone, 4. Dezember 1943. 154 | Vgl. z. B. Webern an Jone, 22. April 1944 (A-Wn, HS 431/1–284): „Am günstigsten wäre es ja, eine Sängerin zu finden, die einige von den sechs Klavier-Liedern – nach Texten von Dir – singen könnte.“ 155 | Webern an Jone, 10. August 1944 (A-Wn, HS 431/1–292): „Ich bekam Nachricht, dass die erwähnte schwedische Sängerin zugesagt hat u. bereits studiert.“ Die im Laufe des Jahres 1934 entstandenen Drei Lieder nach Gedichten von Hildegard Jone op. 25 knüpfen an die im Jahr zuvor in den Drei Gesängen aus Viae inviae von Hildegard Jone op. 23 begonnene kompositorische Auseinandersetzung Weberns mit der Lyrik Hildegard Jones an. Die politischen Konsequenzen der Kämpfe zwischen dem paramilitärischen Republikanischen Schutzbund der Sozialdemokratischen Partei und der militärischen und polizeilichen Exekutive des Dollfuß-Regimes in Wien und anderen größeren Städten Österreichs vom 12. bis zum 15. Februar 1934 veränderten Weberns berufliche Situation gegenüber den Vorjahren jedoch einschneidend. Das Verbot der Sozialdemokratischen Partei bedeutete den Verlust seiner Tätigkeit als Dirigent bei den Wiener Arbeiter-Symphonie-Konzerten und als künstlerischer Direktor des Singvereins der Sozialdemokratischen Kunststelle. In der Folge wurden auch seine Engagements beim Rundfunk immer weniger. In einem Brief an Arnold Schönberg, der 1933 in die Vereinigten Staaten emigriert war, beschreibt Webern dies selbst mit vergleichsweise drastischen Worten: [H]ier wird es immer schwerer für mich. Ich spüre doch sehr, was mir durch die bewußten Ereignisse genommen worden ist – u. wohl kaum wird wiederhergestellt werden können. – Und abgesehn vom Materiellen: mit Kanonen hat man mir gleichsam, nein wirklich, zerschossen, was ich mühevoll durch 10 Jahre aufgebaut hatte.156 Immerhin bedeutete die zunehmende Isolation auch: „Ich habe jetzt doch etwas Zeit zur Arbeit […].“157 Nach dem Abschluss der Drei Gesänge op. 23 im März 1934 und parallel zur weiteren Arbeit am Konzert für Flöte, Oboe, Klarinette, Horn, Trompete, Posaune, Geige, Bratsche und Klavier op. 24 begann Webern im Juli desselben Jahres mit der Komposition zunächst eines Liedes aus Jones insgesamt 29 (nicht nummerierte) Gedichte umfassenden Sammlung Die Freude. Dieser im Herbst 1933 in der katholischen Zweimonatsschrift Die Schildgenossen publizierte Zyklus ist untergliedert in – 5 ‚Frühlings‘-Gedichte (hieraus der Text zu „Wie bin ich froh!“ M 317 [op. 25/1]), – 8 ‚Stern‘-Gedichte (hieraus „Sterne, ihr silbernen Bienen“ M 321 [op. 25/3]) und – 16 ‚Todes‘-Gedichte (hieraus „Des Herzens Purpurvogel“ M 322 [op. 25/2]).158 Ob Webern die später insgesamt drei von ihm zur Komposition herangezogenen Gedichte auch unabhängig von (vor oder nach) dieser Veröffentlichung von Jone als Manuskript erhalten hatte, ist nicht nachweisbar. Die genannte Ausgabe von Die Schildgenossen war Webern jedenfalls noch Ende November 1933 nicht bekannt.159 Anfang Januar 1934 – zu einem Zeitpunkt als Webern die Verlaufsskizze zu M 314 (op. 23/1) gerade erst begonnen hatte – kündigte er als mögliches Folge-Projekt die Vertonung „etliche[r] ‚Stern‘-Gedichte“ an, also wohl von Gedichten aus der zweiten Gruppe innerhalb der Sammlung Die Freude.160 Tatsächlich komponierte er nach Abschluss der Verlaufsskizzen von M 314 (15. März 1934) und des ersten Satzes vom Konzert op. 24 (25. Juni 1934) kein ‚Stern‘-Gedicht, sondern mit dem ersten Gedicht der kompletten Sammlung ein ‚Frühlings‘-Gedicht: „Wie bin ich froh!“ M 317. (Zuvor hatte Webern in den Skizzen zum ersten Satz des Konzerts op. 24 eine Interpolation des ebenfalls aus Die Freude stammenden Gedichtes Wie kann der Tod so nah der Liebe wohnen? [M 315] für Chor erwogen [11. Mai 1934], diese Idee aber wieder verworfen.) Laut Datierung in den Skizzen begann Webern die Komposition des Liedes am 4. Juli 1934, und einige Tage später berichtete er Jone und Josef Humplik davon: Erzählte ich schon, dass mein erster Satz [lies: von op. 24] fertig ist? Momentan habe ich aus Gründen, die ich noch erzählen werde, eine andere Arbeit eingeschoben: die Komposition eines kurzen Gedichtes von Ihnen, liebste Freundin: ‚Wie bin ich froh! Noch einmal wird mir Alles grün….‘161 Die im Brief erwähnten „Gründe“ für die Unterbrechung der Arbeit an weiteren Sätzen des Konzertes op. 24 wegen eines Liedes bestanden sehr wahrscheinlich darin, eine Komposition rechtzeitig zum 60. Geburtstag von David Josef Bach am 13. August desselben Jahres fertigstellen zu wollen. Bach, ein Jugendfreund Schönbergs, war in den 1910er Jahren Initiator der Arbeiter-Symphonie-Konzerte in Wien sowie seit 1919 Leiter der Sozialdemokratischen Kunststelle gewesen. Seit 1922 hatte er Webern immer wieder als Dirigent der Konzerte sowie vor allem seit Ende 1923 als Leiter des Singvereins engagiert, was maßgeblich zu Weberns Reputation als Dirigent beigetragen hatte. Durch das Verbot der Sozialdemokratischen Partei nach den Februarereignissen 1934 war Bach selbst in eine prekäre Situation geraten, auf die Webern in Briefen u. a. an Schönberg aufmerksam machte – und dabei auch den bevorstehenden Geburtstag sowie seine geplante Lied-Widmung ansprach: Für Dr. Bachs 60. Geburtstag – 13. August d. J. – wird Folgendes vorbereitet: eine Adresse mit Unterschriften u. eine Geldsammlung. Seine finanzielle Lage ist noch immer sehr drückend […]. Ich widme ihm ein Lied […].162 Die 15 Takte umfassende Verlaufsskizze M 317 Sk4 in A (Skizzenbuch 3) hatte Webern einige Tage zuvor, am 16. Juli, beendet und daraufhin Jone mitgeteilt: „Das neue Lied ist fertig. –“163 Von der Einbindung in eine möglicherweise geplante Liedersammlung ist zunächst noch keine Rede.164 Im Anschluss an diese Verlaufsskizze finden sich im selben Skizzenbuch die laut Datierung am „21. VII[.]“ begonnen Skizzen zum zweiten Satz (M 319) des Konzertes op. 24. Davor oder zeitgleich schrieb Webern die Reinschrift des Klavierliedes in E, die aber vermutlich in ihrer ersten Schicht noch nicht der späteren zwölftaktigen Textfassung entsprach. Wohl spätestens vor seiner Abreise zu einer Bergtour in die Ötztaler Alpen am 11. August fertigte Webern eine Niederschrift von Textfassung 1 als Widmungsexemplar an (B), das er Bach zum Geburtstag an dessen Sommeraufenthalt in Henndorf bei Salzburg auf seinem Weg persönlich überbrachte.165 Auch das in E enthaltene Autograph von M 317 (als op. 25/1) wurde zunächst im Sinne von Textfassung 1 in B überarbeitet, bevor es später – vermutlich erst im Zusammenhang mit der Entstehung der Reinschriften zu M 321 (op. 25/3) und M 322 (op. 25/2) – wieder verändert und als Textfassung 2 Teil der späteren Sammlung aller drei Lieder wurde. Nach Fertigstellung der Verlaufsskizze zum dritten Satz (M 320) des Konzertes op. 24 am 4. September berichtete Webern Humplik und Jone einige Tage später über den Plan eines auch „Wie bin ich froh!“ M 317 beinhaltenden „Lieder-opus“: „Ich habe das instrumentale opus gerade fertig gestellt u. will nun das bereits begonnene Lieder-opus – fertig ist ja schon längst: ‚Wie bin ich froh‘ – fortsetzen.“166 Eine erste Skizze zu „Sterne, ihr silbernen Bienen“ M 321 in D (Skizzenbuch 4) findet sich innerhalb der Skizzen zum dritten Satz des Konzertes op. 24 und stammt vermutlich bereits von Ende August 1934 (M 321 Sk1). Laut den eigenhändigen Datierungen begann Webern dann am 19. September mit weiteren Skizzen (M 321 Sk2). Über den Fortschritt berichtete Webern Jone Anfang Oktober, wobei der genaue Umfang des „neuen Liederheftes“ nach wie vor offenblieb und sogar die Aufnahme neuer zugesandter, nicht in Die Freude enthaltener „Lieder“ angedeutet wurde: Liebe, sehr verehrte Freundin, vielen, innigsten Dank für die schönen Lieder! „Wie bin ich froh“, sie zu besitzen. Ich denke, sicher wird das eine oder andere in das neue Liederheft kommen. Jetzt ist „Sterne, Ihr silbernen Bienen…“ in Arbeit u. schon weit geworden.167 Die Verlaufsskizze beendete Webern laut Datierung am 8. Oktober (M 321 Sk3 T. 21B–26B). Am 17. Oktober berichtete er Jone sowohl davon als auch bereits vom Beginn der Arbeit an „Des Herzens Purpurvogel“ M 322.168 Der Beginn einer ersten, später abgebrochenen Verlaufsskizze ist mit „24. X[.] 34“ datiert (M 322 Sk3 T. {1A}, {1B}, {1C–2A}, 1D–2B). Die vorangegangenen Skizzen (M 322 Sk1 und M 322 Sk2) sowie möglicherweise M 322 Sk3 Takt {1A}, {1B}, {1C–2A} waren also vermutlich vor der Nachricht an Jone vom 17. Oktober begonnen worden. Anfang November scheint Webern bereits an der endgültigen Verlaufsskizze gearbeitet zu haben,169 die laut Datierung im Skizzenbuch am 15. November fertiggestellt wurde (M 322 Sk4 T. 21C). Wann Webern die Reinschriften der beiden neuen Lieder anfertigte und sich entschied, die Reihenfolge des zweiten und dritten Liedes sowohl entgegen der Anordnung in Die Freude als auch der Chronologie ihrer Komposition zu vertauschen und die Sammlung damit abzuschließen, ist nicht dokumentiert. Da Webern das Projekt in seinen Briefen ab Dezember 1934 nicht mehr erwähnt, sondern stattdessen insbesondere mit seiner Bearbeitung der Fuga (Ricercata) a 6 voci aus Bachs Musikalischem Opfer (M 323) beschäftigt gewesen zu sein scheint, dürfte die Reinschrift der vollständigen und als op. 25 gezählten Lieder-Sammlung (E) spätestens vor Ende 1934 beendet worden sein. In einem Brief an Erwin Stein von Mitte Oktober 1938, einem ehemaligen Schönberg-Schüler und UE-Mitarbeiter, der kurz zuvor nach London emigriert und bei Boosey & Hawkes eine Tätigkeit als Lektor aufgenommen hatte, erwähnte Webern die „Drei Lieder mit Klavier op. 25, nach Gedichten von H. Jone“ als „ein noch nicht gedrucktes und auch noch in keinem Verlag aufgenommenes Lieder-Heft“.170 Ob Webern sie gleichwohl bereits zuvor der Universal Edition angeboten hatte, ist nicht bekannt. Erst zu Weberns 60. Geburtstag 1943 – und vermutlich im Zusammenhang einer möglichen Aufführung (siehe unten) – wurde Webern ein Druck der Lieder von der Universal Edition in Aussicht gestellt, zu dem es allerdings zu Lebzeiten Weberns nicht mehr kam.171 Publiziert wurden die Lieder von der Universal Edition erst postum 1956. Die Uraufführung der Drei Lieder op. 25 war – zusammen mit der der Drei Gesänge op. 23 durch Marguerite Gradmann-Lüscher und Paul Baumgartner – im Rahmen eines Konzertes der Basler Sektion der IGNM am 5. Dezember 1943 geplant. Hierzu hatte die Universal Edition offensichtlich zwei heute verschollene fotographische Reproduktionen von Weberns Autograph hergestellt und vermutlich an Erich Schmid gesendet.172 Im Konzert wurden die Drei Lieder op. 25 jedoch nicht gebracht. Für einen die lyrischen Werke Jones präsentierenden „Abend zeitgenössischer Dichtung“ am 29. November 1944 im Erzbischöflichen Palais in Wien projektierten Jone und Webern eine Zeit lang eine Aufführung sowohl der Drei Gesänge op. 23 als auch der Drei Lieder op. 25,173 die dann von einer namentlich nicht bekannten „schwedischen Sängerin“ und Weberns Schüler Fré Focke auch schon geprobt wurden.174 Letztendlich kam diese Aufführung aber nicht zustande. Die Uraufführung fand erst nach Weberns Tod am 16. März 1952 in New York durch Bethany Beardslee (Gesang) und Jacques Monod (Klavier) statt.175 156 | Webern an Schönberg, 21. März 1934 (US-Wc [zitiert nach Digitalisat in A-Was: ID 18155]). 158 | Hildegard Jone, Die Freude, in: Die Schildgenossen 13/1 (September/Oktober 1933), S. 16–26, hier S. 16 („Wie bin ich froh!“), 18 („Sterne, Ihr silbernen Bienen der Nacht“) und 24 („Des Herzens Purpurvogel“): Jone_DF. Dieser Zyklus Die Freude ist nicht zu verwechseln mit Jones gleichnamigem Gedicht, das auch – ohne expliziten Titel – in den bereits 1932 publizierten Zyklus Viae inviae aufgenommen wurde und die Textvorlage für Weberns Drei Gesänge op. 23 war. 159 | Vgl. Webern an Jone, 21. November 1933 (A-Wn, HS 431/1–112): „Und wie freu ich mich auf Ihre Gedichte im ‚Schildgenossen[‘]!“ 160 | Vgl. Webern an Jone, 6. Januar 1934 (A-Wn, HS 431/1–116): „Das Lieder-Manuskript [lies: von op. 23] möchte ich Ihnen doch erst als vollständiges (mit dem 3. Gesang) überreichen. Dann kommen wohl etliche ‚Stern‘-Gedichte!“ 161 | Webern an Humplik und Jone, 9. Juli 1934 (A-Wn, HS 431/1–131). 162 | Webern an Schönberg, 18. Juli 1934 (US-Wc [zitiert nach Digitalisat in A-Was: ID 22352]). 163 | Webern an Jone, 18. Juli 1934 (A-Wn, HS 431/1–132). Im selben Brief, in dem ebenfalls Bachs bevorstehender Geburtstag angesprochen wird, deutet eine Bemerkung Weberns („Sie wissen ja, was ich ihm zugedenke“) an, dass er Jone inzwischen die „Gründe“ für die Komposition des Liedes mitgeteilt hatte. 164 | Auch in einer Postkarte vom 8. August steht das Lied für sich allein (A-Wn, HS 431/1–134): „Ich hoffe, Ihnen u. Pepo [lies: Humplik] das alles bald nach meiner Rückkehr zeigen zu können! und freue mich darauf schon sehr. Das Lied ‚Wie bin ich froh‘[.]“ 165 | Vgl. Moldenhauer, Anton von Webern (Anm. 18), S. 378, der allerdings irrtümlich schreibt, dass Webern Bach zu diesem Anlass eine Reinschrift der Zwei Lieder op. 19 gewidmet und überreicht hätte. (Moldenhauer lag vermutlich B nicht vor.) Webern hatte die Zwei Lieder op. 19 Bach bereits zur Drucklegung des Werkes 1928 gewidmet. 166 | Webern an Humplik und Jone, 12. September 1934 (A-Wn, HS 431/1–137). 167 | Webern an Jone, 1. Oktober 1934 (A-Wn, HS 431/1–138). Welche „Lieder“ Jones Webern hier anspricht, ist nicht bekannt. 168 | Webern an Jone, 17. Oktober 1934 (A-Wn, HS 431/1–139): „‚Sterne, Ihr silbernen Bienen‘ ist fertig. Jetzt bin ich bei: [‚]Des Herzens Purpurvogel fliegt durch Nacht‘[.]“ 169 | Webern an Jone, 9. November 1934 (A-Wn HS 431/1–140): „‚Des Herzens Purpurvogel‘ wird bald beendet sein. Ich war nur in der letzten Zeit etwas aufgehalten.“ 170 | Webern an Boosey & Hawkes (Erwin Stein), 17. Oktober 1938 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 223 f.). Aus dem Kontakt zu Boosey & Hawkes resultierte die Publikation von Weberns Streichquartett op. 28. Vgl. dazu auch Regina Busch, „Weberns Streichquartett op. 28 und das Schriftbild seiner Partituren“, in: Webern-Philologien, hg. von Thomas Ahrend und Matthias Schmidt, Wien: Lafite, 2016 (Webern-Studien 3), S. 41–76. 171 | Vgl. Universal Edition (Alfred Schlee) an Webern, 1. Dezember 1943 (zitiert nach Webern, Briefwechsel mit der Universal-Edition [Anm. 22], S. 284): „Es ist auch nicht richtig, wenn ich Ihnen die Mitteilung, dass die Lieder nun zum Stich gehen sozusagen als Geburtstagsgeschenk mache, denn es gehört sich natürlich schon längst, sie auch ohne den 60. Geburtstag herauszubringen.“ Vgl. den Kommentar der Herausgeberin ebd.: „Dass die Drei Lieder op. 25 nach diesem Brief ‚zum Stich‘ gegangen wären, ist nicht dokumentiert, ebensowenig ein Vertragsabschluss.“ 172 | Vgl. Webern an Erich Schmid, 9. November 1943 (zitiert nach Erich Schmid, Lebenserinnerungen, Band 2: Briefe, hg. von Lukas Näf, Bern: Peter Lang, 2014, S. 812): „Was die Photokopie meiner Lieder op. 25 betrifft, […] so hoffe ich, dass die nun endlich in 2 Exemplaren bereits in Ihrer Hand sind. Trotzdem ich es immer wieder betrieb, hat sich doch die Herstellung (zeitbedingt) sehr verzögert.“ Schmid, der bei Weberns Aufenthalt 1940 in Basel Gradmann-Lüscher bei der Aufführung der Fünf Lieder nach Gedichten von Stefan George op. 4 sowie einer Auswahl der Vier Lieder op. 12 am Klavier begleitet hatte, war durch seinen Militärdienst für die im Dezember 1943 geplante Aufführung verhindert. Die beiden heute verschollenen Exemplare ([EF1–F2]) dürften Gradmann-Lüscher und Paul Baumgartner vermutlich vor dem Aufführungstermin gleichwohl zugekommen sein, die Zeit für die Einstudierung der Lieder hat dann aber wohl nicht mehr ausgereicht. 173 | Vgl. z. B. Webern an Jone, 22. April 1944 (A-Wn, HS 431/1–284): „Am günstigsten wäre es ja, eine Sängerin zu finden, die einige von den sechs Klavier-Liedern – nach Texten von Dir – singen könnte.“ 174 | Webern an Jone, 10. August 1944 (A-Wn, HS 431/1–292): „Ich bekam Nachricht, dass die erwähnte schwedische Sängerin zugesagt hat u. bereits studiert.“ 175 | Moldenhauer, Anton von Webern (Anm. 18), S. 649 f. Die in der vorliegenden Abteilung versammelten Klavierlieder erscheinen in unterschiedlichen Editionsformen, die sich an der Überlieferungssituation ihrer Textfassungen orientieren: Die gedruckten Sammlungen werden als Werkeditionen vorgelegt. Die lediglich in Tintenniederschriften überlieferten Textfassungen dieser oder – wie im Fall der George-Lieder – im Entstehungsprozess gleichen Editionskomplexen zugeordneter Lieder werden als Texteditionen präsentiert. Eine Ausnahme von dieser Regel stellen die Drei Lieder op. 25 dar, die zu Lebzeiten Weberns nicht im Druck vorlagen. Die autographe Niederschrift der vollständigen Sammlung von op. 25 bietet jedoch alle Merkmale einer für den Druck bestimmten Stichvorlage, so dass eine Werkedition auch hier naheliegt und in textkritischer Hinsicht unproblematisch ist. Überlieferte Bleistiftskizzen werden innerhalb der Online-Edition der AWG als Skizzeneditionen präsentiert. Die George-Lieder Weberns werden in der vorliegenden Abteilung als ein zusammenhängender Editionskomplex behandelt. Dessen spätester Überlieferung – den beiden gedruckten Sammlungen von Opus 3 und Opus 4 – geht eine gemeinsame Entstehungsgeschichte voraus, die durch mehrere unterscheidbare Textfassungen sowie vier in die späteren Drucke nicht aufgenommene Lieder charakterisiert ist. Die in den Korrekturschichten der überlieferten Tintenniederschriften unterscheidbaren und vor den – als Werkeditionen vorgelegten – Drucken entstandenen Textfassungen werden mit Blick auf ihren Schreibstoff als Texteditionen präsentiert – darunter auch einige der zeitlich frühesten, mitunter skizzenhaft wirkenden Textfassungen. (Eine Skizzenedition würde in diesen Fällen im Vergleich zu den bei Webern in der Regel üblichen Bleistiftskizzen weniger Informationen zum Schreibprozess bereitstellen, da gegebenenfalls ante correcturam vorhandene Schichten durch spätere Rasuren selten sicher, meistens gar nicht zu entziffern sind.) Da insbesondere für die verschiedenen von Webern zwischen 1909 und 1919 konzipierten Zusammenstellungen von George-Liedern nicht immer eindeutig rekonstruiert werden kann, welche Textfassungen welcher Lieder in welcher Anordnung vorgesehen waren, werden die in den Quellen gleichwohl erkennbaren Textfassungen in der Print-Edition der vorliegenden Abteilung in zeitlicher Folge der Textfassungen jedes Liedes, die Lieder ihrerseits in alphabetischer Reihenfolge der Titel präsentiert. Die Rechtschreibung (insbesondere Groß-/Kleinschreibung) und mitunter spärliche Interpunktion des Gesangstexts zahlreicher Textfassungen der George-Lieder übernahm Webern in der Regel aus den Gedichtvorlagen. Diese Eigenarten wurden in den entsprechenden Texteditionen beibehalten. Ergänzungen oder Korrekturen der Gesangstexte orientieren sich ebenfalls an den George-Vorlagen und werden in den Textkritischen Anmerkungen aufgeführt. Abweichungen von den Gedichtvorlagen werden in den Textkritischen Anmerkungen durch einen Sic-Vermerk erläutert. Bei den im Vergleich zu den George-Liedern zahlenmäßig wenigen frühen Textfassungen einzelner Lieder der Editionskomplexe Vier Lieder op. 12 und Drei Lieder op. 25 wurde hinsichtlich der Anordnung ihrer Texteditionen entsprechend verfahren. Auch wenn die Eigenarten der jeweiligen Textvorlagen dieser Texteditionen nicht so charakteristisch wie im Falle der George-Gedichte sind, gelten die gleichen Grundsätze beim editorischen Umgang mit dem Gesangstext. Der Herausgeber dankt zahlreichen Personen und Institutionen, die ihn bei der Arbeit auf vielfältige Weise unterstützt haben. Dieser Dank gilt vor allem den Mitarbeitenden der Archive und Bibliotheken, die digitale Reproduktionen ihrer Quellen für die Editionsarbeiten zur Verfügung gestellt bzw. Zugang zu den Originalen gewährt haben: Das Arnold Schönberg Center in Wien, die Music Division der Library of Congress in Washington D.C., die Morgan Library & Museum in New York City, die Musiksammlung der Österreichischen Nationalbibliothek in Wien, die Musiksammlung der Wienbibliothek im Rathaus in Wien sowie das Historische Archiv der Universal Edition in Wien. Besonderer Dank gilt der Paul Sacher Stiftung in Basel, die den größten Teil der erhaltenen Webern-Quellen aufbewahrt: Insbesondere Sabine Hänggi-Stampfli, Felix Meyer, Simon Obert und Andrietta Wahl waren hier immer wieder hilfsbereite und kenntnisreiche Ansprechpartner. Für die kollegiale und fruchtbare Zusammenarbeit sei auch allen aktuellen Mitarbeitenden des Projekt-Teams der AWG Michael Matter, Stefan Münnich, Simon Obert, Barbara Schingnitz und Matthias Schmidt, den ehemaligen Kolleginnen und Kollegen Julia Bungardt, Monika Kröpfl, Nikolaus Urbanek und Manuel Strauß sowie den Praktikantinnen und Praktikanten Tamara Ackermann, Yuta Asai, Daia Aschwanden, Madita Knöpfle und Youchen Yu gedankt. Bei der Konzeption und Einrichtung der Online-Edition boten Rita Gautschy (Swiss National Data and Service Center for the Humanities), Lukas Rosenthaler und Tobias Schweizer (Digital Humanities Lab der Universität Basel) sowie zahlreiche andere Mitarbeitende der genannten Institutionen Anregungen und Hilfe. Heinz Stolba von der Universal Edition in Wien gilt Dank für seine engagierte Kooperation. Für Hinweise, Feedback und Ratschläge aller Art seien schließlich Simone Hohmaier (Staatliches Institut für Musikforschung, Berlin), Juliane Brand (Karl Weigl Foundation, San Rafael, CA), Regina Busch (Wien), Felix Wörner (Basel) sowie Michelle Ziegler (Basel) sehr herzlich bedankt. Basel, den 14. Mai 2024 Thomas Ahrend Series I, Section 5 of the Anton Webern Gesamtausgabe (AWG) presents the songs with piano accompaniment by Anton Webern in the versions (Textfassungen) to which he gave opus numbers and were either published during his lifetime or intended for publication (Opp. 3, 4, 12, 23 and 25), plus various individual songs (such as the George songs M 143–146) that are grouped together in clusters in this edition because the common circumstances of their composition imply that they belong together (such clusters are in the German-language documentation of the AWG referred to throughout as Editionskomplexe). Further clusters of songs that were not published during Webern’s lifetime, including those assigned opus numbers that later became obsolete (e.g. the Dehmel songs M 83, 119, 130–131), will be published in Series II, Section 5. The earliest versions of Webern’s 14 songs with piano accompaniment to texts by Stefan George (M 133–146) were presumably composed between December 1907 and 1909. Together with the Five Movements for String Quartet M 147–151 and the Six Pieces for Large Orchestra M 152–157, they are among his first so-called atonal compositions. The two collections Five Songs from Der siebente Ring by Stefan George, Op. 3 and Five Songs on Poems of Stefan George, Op. 4 were published in 1919 and 1923 respectively. However, the specific songs collected in these opus numbers were not fixed from the beginning. Determining their content was a lengthy process, the various stages of which can no longer be reconstructed with certainty, and the musical text of most of these songs went through different versions. We can trace Webern’s initial reception of George’s work back to circa 1900, when he copied the poem “Indes deine mutter dich stillt” into one of his diaries.1 We have no documentary proof either of any compositional engagement with this poem on his part, nor of his having read more George. He may have had further contact with George’s poetry in the Ansorge Society in Vienna, where Webern and his student friend Karl Horwitz were active from 1904 onwards, and whose evening events included performances of George settings by Conrad Ansorge (Five Songs on Poems of Stefan George, Op. 14).2 In the summer of 1907, Webern acquired an edition of George’s Das Jahr der Seele and, in the summer of 1908, copies of Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten and Der siebente Ring.3 Webern marked all these books with crosses and angle marks, some of them alongside the titles of poems that he set (though not next to all the ones he later composed); these also include the poems he used for choral works or orchestral songs (Entflieht auf leichten kähnen and Kunfttag III). Only in one case (Kunfttag II) do we find a mark next to a poem for which no musical setting is known by Webern. There are no documents to help us identify the criteria that Webern used when choosing texts from the volumes of poetry that were available to him.4 One incentive for Webern’s compositional engagement with George’s poems presumably came from Arnold Schoenberg’s own settings. Schoenberg had composed the song “Ich darf nicht dankend”, Op. 14, No. 1 on 17 December 1907 and numerous other songs for his growing cycle Fifteen Poems from The Book of Hanging Gardens by Stefan George, Op. 15, from March to May 1908 (we have definite proof that he composed the songs Op. 15 Nos. 3–8 at that time).5 In a letter dated 11 June 1908 from Webern to Schoenberg, there are indications that the former already knew some of the songs that the latter had completed by this time.6 Various features make it seem plausible that “Erwachen aus dem tiefsten Traumesschoße” M 143 represents Webern’s first setting of a poem by George for voice and piano, as it clearly refers to Schoenberg’s Op. 14, No. 1. Unlike most of Webern’s later songs, these two songs still have a key signature (as does his chorus “Entflieht auf leichten Kähnen” M 129, quite possibly written in 1907/08), which indicates a comparatively early date of conception. Given that the proven date of composition of Schoenberg’s Op. 14, No. 1 provides us with an earliest possible date for Webern’s song, the latter could have been composed between December 1907 and June 1908.7 A comparison of the handwriting and the types of music paper used suggests that the initial versions of the following songs (in one case: the sole extant version [einzige Textfassung]) could also have been written by mid-1908, including “Erwachen aus dem tiefsten Traumesschoße” M 143: Webern wrote to Schoenberg from Berlin in December 1908, requesting a letter of recommendation to Richard Strauss. He also discusses establishing contact with the Berlin publisher Max Marschalk of the Dreililien publishing company (which was probably suggested by Schoenberg). Webern goes on to say that he does not have enough material to make up a volume of songs: I don’t know, I’m so stupidly shy. That’s also why I haven’t yet been to Marschalk. If only I had a volume of songs ready. But this means he can’t take anything at the moment. On the one hand, I’d like to, but on the other hand –8 Webern clearly did not consider either his four George songs (which were presumably finished by late 1908) nor his five Dehmel songs M 83, M 119, M 130–132 (which he had also already composed) to be suitable for publication.9 Webern’s letter to Heinrich Jalowetz of 25 May 1909, written in Vienna, provides an explicit, dated reference to the composition of a George song: “I have – thank God – written something again. A song after George, ‘Trauer I’ (VII Ring).”10 Webern went to his family’s estate of Preglhof in Carinthia on 29 May and spent the ensuing weeks and months there, during which time he reported to Schoenberg on the completion of a first version of his Five Movements for String Quartet M 147–151 and on further plans for songs and orchestral works (the latter being the Six Pieces for Large Orchestra M 152–157).11 However, his plans were initially delayed by the death and funeral of his maternal grandfather, Anton Geer: Yes, for the reasons given above, I’ve only written one song since the quartet. Stefan George again. That was the day before yesterday and yesterday. Now a few more are on their way. I have so little peace here now. But it’s all still got to come together.12 Webern’s visit to Carinthia was also interrupted – presumably from mid-July onwards – by a brief engagement at the theatre in Innsbruck. But by the end of July, Webern was writing to Schoenberg from Preglhof once again, and on 20 August he wrote: Meanwhile, I have written 2 songs and two orchestral pieces. The songs are yet again quite different from before. The orchestral pieces too, of course.13 It is unclear precisely to which George songs Webern was referring in his letters to Schoenberg. The only George song by Webern that we can date more precisely thus remains Trauer I M 145, which he had written shortly before 25 May 1909, thus before his visit to Carinthia. Both the manuscript paper that he used and a clear shift in his handwriting style (when compared to the abovementioned songs that were probably composed in 1908) together suggest that, after Trauer I M 145, Webern also wrote the initial versions of the following songs in the course of the summer or autumn of 1909 (in some cases, these are the only versions of the songs in question): On the basis of our assessment of Webern’s handwriting, a further manuscript can also be assigned to this period: “Dies ist ein Lied” M 133 (version 2, which is the basic layer in C). Since the autograph of “Ihr tratet zu dem Herde” M 142 ([C]) has not survived, it is naturally impossible to use these criteria to determine whether it was also written in 1909 or already in 1908. In contrast to Webern’s compositions from before 1908 and after 1914, no conceptual sketches in pencil (i. e. continuity drafts, which were often dated) have survived for the George songs (the same applies to most other works composed in the same period). We only find pencil corrections to individual passages in the existing ink manuscripts. Webern commonly made such continuity drafts in pencil during other creative periods of his life, but it is impossible to make any general statement about whether this was also the case here, or whether the manuscripts in ink of the early versions of these songs served the function of a sketch during the compositional process.14 Six George songs were given their world premiere on 8 February 1910 in Vienna, at a concert of the Verein für Kunst und Kultur (the “Association for Art and Culture” that was the successor of the Ansorge Society). The same concert featured Webern’s Five Movements for String Quartet M 147–151 and songs by Bruno Walter and Karl Weigl.15 Webern’s songs were sung by Martha Winternitz-Dorda, accompanied by the composer. Just a few weeks earlier, on 14 January 1910, she had sung the world premiere of Schoenberg’s Fifteen Poems from The Book of Hanging Gardens by Stefan George, Op. 15 in a concert of his works organized by the same Association for Art and Culture. The programme booklet for the concert of 8 February gave the texts of Webern’s six George settings (listed below) under the collective title “Songs after Stefan George”, arranged in two groups according to the poetry volumes from which they were taken. No opus number was given (in the following schematic summary, we name the version of the song that was presumably performed on this occasion): Manuscript copies in other hands have survived of almost all these songs in F (see the List of Sources [Quellenübersicht] for Op. 3) and D (see the List of Sources for Op. 4) that were most likely made for this specific performance. These songs are numbered in pencil from “I” to “V” in these two sources; the numberings correspond to the order of the texts as given in the programme booklet (while no copy of “Ihr tratet zu dem Herde” M 142 [E] has survived, it no doubt existed and was presumably given the number “VI”). Certain musical and orthographic details in the copyist’s manuscripts seem especially clumsy, while their text underlay reveals similarities with the handwriting of Wilhelmine (Minna) Mörtl, who later became Webern’s wife. These manuscript copies generally contain numerous annotations by Webern himself, some of which (in “Dies ist ein Lied” M 133 most of all) entail a process of revision resulting in later versions of the song. However, some of the annotations in red crayon were probably made in the context of preparations for the first performances in February 1910, when the abovementioned copies were presumably used by the singer. When we consider the versions of the musical text that were most likely performed on that occasion, we can surmise that Webern probably played the piano accompaniment from the following sources: Webern’s compositions that were performed in this concert in 1910 were given several negative reviews. As an example, we offer here a passage from Julius Korngold’s review in the Neue Freie Presse in which he also makes explicit reference to the previous month’s concert in which Schoenberg’s George songs, Op. 15, were given their first performance:16 We were recently occupied with the case of Schoenberg, and now we also have the case of Anton v. Webern, even if both are basically one. For Mr v. Webern is Schoenberg’s pupil, one who not only swears by his master’s words, but in many a respect outdoes him. This is a good thing; one feels less stressed, and experiences an almost comfortable indifference. One was able to engage with [the work of] the teacher, and indeed one was compelled to do so, while that is not the case with his disciple. […] [his] six songs by Stephan [sic] George also tread along Schoenberg’s path, and not just in his choice of poet. Chords from the new theory of harmony are accompanied by a psalmodizing singing voice using the relevant intervals. Even a musically trained, receptive listener here undergoes the psychological experience of thinking he is always hearing the same thing. Here, however, the words provide a certain degree of expression, though admittedly it is an expression throughout of mental dejection, of mental disintegration. If one listens in a spirit of good will, then one is reminded in their best moments of Octave Mirbeau’s painter, who ultimately only wanted to paint “souls”. . . . May the reader here forgive our grim merriment. But when performed on Shrove Tuesday, this music involuntarily infects our Ash-Wednesday criticism with a certain carnival mood.17 The six songs that were given their first performance in 1910 were merely a selection of what were presumably a total of 14 George songs that Webern had already composed at that time. In two handwritten lists of titles, probably drawn up before the first performances of all the songs, he had already divided them into two groups designated “Op. 2” and “Op. 4”, with seven songs each.18 These two lists read as follows (with angle marks added in pencil, “[p]”, and in red crayon, “[r]”): Several elements in these two lists19 prove that they were not written at the same time. Given that the sequence of opus numbers that Webern had begun with his Passacaglia M 127 (his “Op. 1”) was interrupted by his Five Movements for String Quartet M 147–151 (designated “Op. 3”), he probably compiled his Seven Songs (“Sieben Lieder”) “Op. 2” earlier than the songs that his second list designated as “Op. 4” (this would also seem to be confirmed by the fact that his “Op. 2” contains all the songs that he had presumably composed by 1908).20 Despite the differences between them and the presumed chronological distance between the two lists, they both bear traces of having been reworked at the same time; they have the abovementioned angle marks in pencil and red crayon on the left, alongside several lines of text (in the last line of “Op. 4” also between the song number and the opening line). Furthermore, some numbers in the list for “Op. 4” (“1”, “5” and “6”) have been crossed out in pencil. It is possible that the red crayon markings denote the choice of songs for the performance of 8 February 1910 (in which case the angle mark next to “2. ‘Dies ist ein lied...’” in the list for “Op. 2” would also refer to “1. Eingang.” above it).21 All the George songs, plus the two lists themselves, must in this case have been written before the date of this concert, and these two collections of songs would then presumably also have been among the compositions that Webern presented at a meeting that Schoenberg had organized with the director of Universal Edition, Emil Hertzka, on 9 October 1909 (though none of these works was subsequently accepted by the publishing house).22 However, these two compilations do not simply constitute more extensive versions of the collections later printed as Webern’s Opp. 3 and 4.23 For example, the ordering principle behind his Five Songs from Der siebente Ring by Stefan George, Op. 3, published in 1919, played no role in his selection of songs for “Op. 2”.24 In this Op. 3, Webern brought together all the texts that he had set to music from the poetic cycle Lieder (Songs) that George had included in Der siebente Ring and also kept those songs in the order of the original poems.25 “An Bachesranft” M 135, which features in this opus 3, also appears here in the list for “Op. 4”, while “So ich traurig bin” M 141, which was actually included in the Five Songs on Poems of Stefan George, Op. 4, published in 1923, was deleted from the list for the Seven Songs “Op. 4”. In early June 1911, Webern sent “some 10 songs” to the Dreililien publishing company in Berlin, together with his Five Movements for String Quartet M 147–151 and his Four Pieces for Violin and Piano M 161–164.26 It is impossible to determine just which songs he sent. After all these works had been rejected, Webern submitted the same compositions to the publisher Tischer & Jagenberg in Cologne in late September or early October,27 though again without any of them being accepted for publication.28 In the autumn of 1911, Webern – along with Schoenberg and Alban Berg – received an invitation to contribute a musical supplement to the almanac Der blaue Reiter, published by Wassily Kandinsky and Franz Marc. For this he chose “Ihr tratet zu dem Herde” M 142. A letter that Webern wrote to Paul Königer reveals that he had also included this song in the selection sent to Tischer & Jagenberg: You want this song from me; yes, I have sent the two copies I possessed to the “blauer Reiter” and to the publisher. But if it is still possible, I shall copy it out again from the sketch and give it to you as a gift.29 Webern had thus presumably sent the sources [C] and [E], neither of which has survived, to the Cologne publisher and to Der blaue Reiter. When the publisher Gerhard Tischer rejected his music in late December 1911 or early January 1912, Webern got his works back and was able to inform Königer that he would send the promised copy of the song: “You’ll get my song soon. By the way, it will appear in the ‘blauer Reiter’.”30 (In late January, Webern was sent “the proofs of my song”,31 i. e. presumably the proofs from the music engraver [F] that were engraved after the copy he had sent). Der blaue Reiter was published in May 1912, and Webern received his copy (with GH) in early June.32 Already by the beginning of 1912, Webern was making plans for the private publication of a selection of nine songs together with others of his works, as he wrote in a letter to Berg: At Schoenberg’s insistence, I have decided to publish 4 of my works (Passacaglia, 9 songs, Quartet [the first] and the older 6 orchestral pieces) with Straube (just like Schoenberg’s Quartet No. II). So I’ve got a lot to do with regard to revising these scores.33 This decision had been preceded by discussions with Schoenberg in February, whose diary records his having looked through several works by Webern, expressly mentioning his songs: Webern came on the afternoon in order to look through his songs with me (which he wants to publish). They again pleased me a lot. Truly an original talent. I can see that he’ll turn into something great.34 In his personal copy (GH) of the song that he published in Der blaue Reiter, Webern revised the musical text and added the opus number “2”. In the two abovementioned lists of the two sets of seven songs “Op. 2” and “Op. 4”, however, this song was still classified under “Op. 4”. So “Ihr tratet zu dem Herde” M 142 (version 2) was presumably part of a new collection of “9 songs” designated “Op. 2” that constituted a selection from all 14 of Webern’s George songs and replaced the two previous compilations. Just which other songs also belonged to this new collection remains undocumented. Ultimately, no Straube publication of the four aforementioned opus numbers came about. In fact, only the orchestral pieces M 152–157 were published thus in 1913, as Webern’s “Op. 4”. Instead, in a letter to Schoenberg sent in the summer of 1912, Webern mentions his plan to submit a different selection of his compositions to Simrock, from which he intentionally excluded his songs: I’ll be sending the following to Simrock today already: the “Passacaglia”[,] the quartet and the violin pieces. I still haven’t copied out my songs properly, otherwise I would be sending them too. But I will speak of them in a letter. Perhaps he will then ask for the songs. By then I will have put them in order.35 But just a few weeks later, Webern’s works were rejected once again.36 It remains unverifiable whether or not he had indeed subsequently “copied out [his] songs properly”. In early 1913, Webern ultimately sent an unspecified selection of his songs to the publishing house of Gadow in Hildburghausen, though again, clearly, without success.37 In the summer of 1914, Schoenberg once more approached Universal Edition about Webern.38 After a conversation between Webern and Hertzka that took place on 25 June, it was finally agreed that the latter would publish “the score of Op. 4, the chorus and a booklet of songs or the violin pieces”39 by Webern the following year. However, no decision ever had to be made about whether to publish a volume of his songs or the Four Pieces for Violin and Piano M 161–164, because the First World War broke out just a few weeks after their meeting, and economic reasons forced the cancellation of their plans.40 A few days before the outbreak of war, thanks to the mediation of Alban Berg and Alfred Kalmus, the possibility nevertheless arose for Webern to contribute something to a collective publication being prepared by Universal Edition entitled Das moderne Lied (“The Modern Song”).41 Webern submitted three songs – none of which can be identified today42 – but none was included in the volume.43 An autograph title page by Webern, whose base layer was written in red ink, refers to a selection of nine George songs (fol. 8r in H): 44 Neun Lieder | op[.] 6 [“6” corrected from: “5”; the whole line has been added subsequently in pencil] | nach Gedichten von Stefan George | komponiert | von | Anton von Webern. The change of opus number for the “Nine Songs” (“Neun Lieder”) from “Op. 2” to “Op. 5” (for the moment) was presumably made in 1914, when the chorus “Entflieht auf leichten Kähnen” M 129 was given the opus number “2” in Webern’s list of works. These songs were thus moved after both the string quartet compositions designated as “Op. 3”, namely M 147–151, M 171–174 and M 178–180, and the orchestral pieces M 152–157, which in the meantime actually appeared in a private print as “Op. 4”. Webern might have reordered these opus numbers when revising his compositions in late 1914 / early 191545 – possibly also with a view to the prospective publication of some of his works by Universal Edition in the second half of 1915. At some point, this collection of “Nine Songs, Op. 5” presumably included “Erwachen aus dem tiefsten Traumesschoße” M 143, which was subsequently given the designation “op[.] 5 No 2” in A. It is unclear when and why the number “Op. 5” was changed to “Op. 6” on the abovementioned title page in H (in 1914, the Four Pieces for Violin and Piano M 161–164 were presumably initially counted as “Op. 6”.) To what extent Webern might have altered the precise content of “some 10 songs” or his “9 songs” or “Nine songs” between 1911 and 1914 remains undocumented. In addition to Webern’s efforts to get a selection of his George songs into print, there were also repeated plans for further performances of them, after the abovementioned first performance of six songs in February 1910. An unspecified number of Webern’s songs was initially planned for inclusion in a concert in Vienna on 24 April 1911, for example, though they were dropped for various reasons.46 Webern temporarily considered replacing a performance of his Pieces for Violin M 161–164, planned for 29 June 1912 in Vienna, with “4 songs” instead.47 And when Schoenberg had the idea of a joint “evening of compositions” by Berg and Webern in Berlin in autumn 1913, Webern thought of including several songs alongside his string quartet compositions M 147–151, M 171–174 and M 178–180: And then songs by me. It would be nicest of all if [Marya] Freund sang. Do you think that could be organized? I would like to send her the songs soon. May I ask you for the address of Ms Freund?48 In fact, one of the extant sources of “Dies ist ein Lied” M 133 (C) was found in the archives of the singer Marya Freund, who had sung the Wood Dove at the first performance of Schoenberg’s Gurre-Lieder on 23 February 1913.49 She was also due to sing Gustav Mahler’s Kindertotenlieder at what later became known as the “Skandalkonzert” on 31 March of that same year (whose programme included the world premiere of Webern’s Six Pieces for Large Orchestra “Op. 4” [M 152–157]), though the tumult that occurred on that evening meant that the Mahler songs were never performed.50 According to a note in her archives, the autograph came into her possession in “circa 1914”.51 However, she never sang the song in the context that had been envisaged because the concert programme was initially shortened,52 and then the very idea of the “evening of compositions” was dropped altogether. We do not know whether Freund actually sang this song – or any George songs by Webern – on any other occasion. After the world premiere of his six songs in 1910, it is likely that Webern’s George songs were only performed again after the end of the war. These performances were closely connected with the publication of his Five Songs from Der siebente Ring by Stefan George, Op. 3, by the publishing house of the Verein für musikalische Privataufführungen (the Society for Private Musical Performances) (L). On 6 April 1919, the Verein held a concert in which Felicie Hüni-Mihacsek sang “Four Songs, Op. 3” accompanied by Eduard Steuermann, though “An Bachesranft” M 135 was subsequently inserted as the third song when they were published two months later as Five Songs, Op. 3.53 On 6 June 1919, the same performers gave the world premiere of the complete collection of five songs, the score of which was also put on sale at the concert.54 We know almost nothing about the production process of this publication.55 The engraver’s copy [K] has not survived, though it must have included new versions of the musical text of some of the songs that are not documented in other sources. The Verein’s two performances in April and June are likely to have used manuscript sources containing earlier versions of the musical text; if not, then the copies in question have also not survived.56 Print L was completed only a few days before the second performance of June 1919,57 and contains the following songs: I “Dies ist ein Lied” M 133 (version 4) II “Im Windesweben” M 134 (version 3) III “An Bachesranft” M 135 (version 3) IV “Im Morgentaun” M 136 (version 3) V “Kahl reckt der Baum” M 137 (version 5) Webern finally concluded a contract with Universal Edition in August 1920, signing over the rights to his Op. 1 (Passacaglia M 127), Op. 2 (“Entflieht auf leichten Kähnen” M 129), Op. 3 (George songs M 133–137) and Op. 6 (Pieces for Orchestra M 152–157), and Universal subsequently also took on the remaining copies of the edition of the Five Songs from Der siebente Ring by Stefan George, Op. 3, that had been printed by the Verein in 1919.58 For the publication of his Five Songs on Poems of Stefan George, Op. 4, Webern had a copy, I, made of the versions of the songs contained in his autograph fair copy H. It is unclear just when he had this done, though it was presumably not long after he signed the contract for the work in April 1923.59 Print J was published in August 1923 and contains the following songs: I Eingang (“Welt der Gestalten”) M 138 (version 3) II “Noch zwingt mich Treue” M 139 (version 3) III “Ja Heil und Dank dir” M 140 (version 2) IV “So ich traurig bin” M 141 (version 2) V “Ihr tratet zu dem Herde” M 142 (version 3) The world premiere of the Five Songs on Poems of Stefan George, Op. 4, was given by Jenny Jungbauer und Ilse Fromm-Michaels on 23 November 1923 in Hamburg at a cycle of concerts entitled “New Music” that was organized by Josef Rufer und Hans Heinz Stuckenschmidt. Webern was presumably not in attendance, nor had he been involved in preparations for the performance.60 The complete collection of Op. 4 was performed in Webern’s presence only on 10 February 1940 in Basel in a concert of the International Society for Contemporary Music (hereinafter ISCM) featuring Marguerite Gradmann-Lüscher accompanied by Erich Schmid, at which they also performed three of Webern’s Four Songs, Op. 12, alongside songs by Schoenberg and Berg.61 As in the latter case, further performances of Webern’s George songs during his lifetime often took place in various combinations comprising selections from the published collections Opp. 3 and 4 and the Four Songs, Op. 12. In addition to the performances already mentioned from the years 1910, 1919 (the world premiere of Op. 3) and 1923 (the world premiere of Op. 4), we currently have documentary evidence of the following: – 20 November 1922, Prague, Verein für musikalische Privataufführungen, Felicie Hüni-Mihacsek and Eduard Steuermann: Five Songs from Der siebente Ring by Stefan George, Op. 3.62 – 17 January 1925, Paris, Revue musicale, Ruzena Herlinger and Ernst Bachrich: Op. 3/1, 3/2, 3/3.63 – 26 October 1928, London, Wigmore Hall, Ruzena Herlinger and Eduard Steuermann: Opp. 3/1, 3/2, 3/5, 12/1 and 12/4.64 – 25 October 1929, Brussels, Palais des Beaux-Arts, Ruzena Herlinger and Stefan Askenase: songs from Opp. 4 and 12.65 – 13 April 1931, Vienna, Small Hall of the Musikverein, Aenne Michalsky and Eduard Steuermann: Opp. 4/1, 3/1, 3/2, 3/5, 12/1 and 12/4.66 – 18 November 1931, Amsterdam, Berthe Seroen and Phons Dusch: Opp. 3/1, 3/3, 12/2.67 – 2 December 1933, Vienna, Small Hall of the Musikverein (Concert of the ISCM on the occasion of Webern’s 60th birthday), Aenne Michalsky and Eduard Steuermann: songs from Opp. 3, 4 and 12.68 – 17 December 1934, Vienna, Ehrbar Hall, Felicie Hüni-Mihacsek and Eduard Steuermann: Five Songs from Der siebente Ring by Stefan George, Op. 3.69 – 10 February 1940, Basel, Conservatory (Concert of the ISCM, Basel Section), Marguerite Gradmann-Lüscher and Erich Schmid: Five Songs on Poems of Stefan George, Op. 4 and Op. 12/2, 12/4 and 12/1.70 – 28 March 1941, Zurich, guild house “Zur Saffran” (concert of the ISCM, Zurich Section “Pro Musica”), Marguerite Gradmann-Lüscher and Erich Schmid: Five George songs plus three songs from Op. 12.71 – 5 December 1943, Basel, Conservatory, Marguerite Gradmann-Lüscher and Paul Baumgartner: Five Songs from Der siebente Ring by Stefan George, Op. 3.72 Webern had personal contact with most of these performers, and in some cases he also assisted when they rehearsed his songs. In his personal copy of the Five Songs on Poems of Stefan George, Op. 4 (JH), we find various annotations pertaining to performances, and indications of durations. It is impossible to prove whether or not these are connected with one of the abovementioned performances (though perhaps with the first performance of the entire collection in Basel in 1940). 1 | Anton Webern, “Drei frühe Tagebücher”, transcribed and with commentary by Barbara Schingnitz, in: Der junge Webern. Texte und Kontexte, ed. Thomas Ahrend and Matthias Schmidt, Vienna: Lafite, 2015 (Webern-Studien 2b), pp. 215–324, here 265 (Tagebuch II, fol. 19r–19v). Webern did not, however, copy this poem from George’s collection Das Jahr der Seele (Berlin: Blätter für die Kunst, 1897, pp. [21 f.]), but rather from Ernst von Wolzogen’s novel Das dritte Geschlecht (Berlin: Eckstein, [1899], p. 103), where it is quoted in a subtly altered version. See the commentary on Webern, “Drei frühe Tagebücher”, p. 305, and Cornelia Bartsch, “‘Bis endlich das Weib vor Weh vergeht…’ Geschlechtererzählungen des jungen Anton Webern”, in: Der junge Webern. Texte und Kontexte, pp. 169–197, especially pp. 196 f. 2 | For example, on 11 February and 3 December 1904. See Conrad Ansorge 1862–1930. Ein Pianist des Fin de siècle in Berlin und Wien, ed. Eike Rathgeber, Christian Heitler and Manuela Schwartz, Vienna: Böhlau, 2017, pp. 421 f. and 425. See this book also for further information on Webern’s activities in the Viennese Ansorge Society. 3 | Stefan George, Das Jahr der Seele, Berlin: Bondi, 31904, pp. 14 (Ja heil und dank dir…), 30 (Noch zwingt mich treue…) and 118 (Ihr tratet zu dem herde): George_DJdS; Stefan George, Die Bücher der Hirten- und Preisgedichte der Sagen und Sänge und der hängenden Gärten, Berlin: Bondi, 31907, p. 74 (So ich traurig bin): George_DBdH; Stefan George, Der siebente Ring, Berlin: Blätter für die Kunst, 1907, pp. 126 (Eingang) and 157–161 (Dies ist ein lied, Im windes-weben, An baches ranft, Im morgen-taun, Kahl reckt der baum): George_DsR. Webern’s copies are held by CH-Bps, Anton Webern Collection (PSS AW B 1039–1041). 4 | Albrecht Dümling has discerned biographical connections with the death of Webern’s mother in 1906 and the mourning motif that runs through most of the George poems that he set to music. See “‘Dies ist ein Lied für dich allein’. Zu einigen Motiven von Weberns Textwahl”, in: Anton Webern I, ed. Heinz Klaus Metzger and Rainer Riehn, Munich: edition text + kritik, 1983 (Musik-Konzepte Sonderband), pp. 251–261. 5 | See Arnold Schoenberg, Lieder mit Klavierbegleitung, critical report, ed. Christian Martin Schmidt, Mainz 1989 (Complete Works Section I Series B 1/2 Part 1), pp. 171–176 and pp. 182–217. 6 | Webern to Schoenberg, 11 June 1908 (US-Wc [cited as in the digitized copy in A-Was: ID 18181]): “Since you asked me 7 | See Thomas Ahrend, “Zu Anton Weberns George-Vertonung ‘Erwachen aus dem tiefsten Traumesschoße’. Eine Spurensuche”, in: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 2011, ed. Simone Hohmaier, Mainz: Schott, 2011, pp. 53–74, here pp. 66 ff. 8 | Webern to Schoenberg, 13 December 1908 (US-Wc [cited as in the digitized copy in A-Was: ID 21729]). 9 | All the same, Webern later compiled song collections using these Dehmel songs, though he did not publish them. See Mathew R. Shaftel, “Anton Webern’s Complete Early Songs (1899–1909)”, in: The Anton Webern Collection. Early Vocal Music, ed. Shaftel, New York: Carl Fischer, 2004, pp. iii–xiii, here p. xiii. 10 | Webern to Jalowetz, 25 May 1909 (Anton Webern, Briefe an Heinrich Jalowetz, ed. Ernst Lichtenhahn, Mainz: Schott, 1999 [Veröffentlichungen der Paul Sacher Stiftung 7], p. 129). 11 | Webern to Schoenberg, 16 June 1909 (US-Wc [cited as in the digitized copy in A-Was: ID 21801]): “I have already written a whole string quartet. It has 5 movements. [...] This Saturday I’m going to Klagenfurt with my father, which we’ll use as our base for a few small excursions along the Wörtersee [sic] and into the Karawank Mountains. I’ll be back here by the middle of next week. Then I first want to write a few songs[.] Then [something] for orchestra. I can hardly wait.” 12 | Webern to Schoenberg, 10 July 1909 (US-Wc [cited as in the digitized copy in A-Was: ID 21731]). 13 | Webern to Schoenberg, 20 August 1909 (US-Wc [cited as in the digitized copy in A-Was: ID 21809]). 14 | See Thomas Ahrend and Michelle Ziegler, “Anton Webern: Dies ist ein Lied M 133. Impuls [Ahrend]: Flüchtige Reinschrift oder sorgfältige Skizze? Überlegungen zu Anton Weberns frühester Niederschrift von Dies ist ein Lied M 133. Respondenz [Ziegler]: Bleistiftglück und Tintenbestimmtheit. Gedanken zu den Schreibstoffen im Kompositionsprozess von Anton Weberns Dies ist ein Lied”, in: Journal of the Arnold Schönberg Center 17 (2020), pp. 160–182. 15 | [Programme:] “Verein für Kunst und Kultur. Kammermusik- und Liederabend moderner Komponisten, Wien, 8. Februar 1910”, US-NH, Karl Weigl Papers (MSS 73). Digital copy at: https://ark.dasch.swiss/ark:/72163/1/0806/EILT3bp7Sc2m9_8wWrVvsgb.20161121T080801Z. The Fünf Gesänge für eine tiefe Stimme by Franz Schreker that are also mentioned on this programme, to be performed by Theo Drill-Orridge and Clemens Kraus [sic, i. e. Clemens Krauss?] were left out because of an injunction against the singer; see r. h., “Feuilleton. Von neuen Tonwerken”, in: Wiener Zeitung, 17 February 1910 (Wiener Abendpost), pp. 1–2, here p. 2. 16 | See also Julius Korngold, “Feuilleton. Musik. (Philharmonisches Konzert. – Konzertverein. – Arnold[-]Schönberg-Abend.)”, in: Neue Freie Presse, 26 January 1910 (morning edition), pp. 1–3, here p. 3: “In [Schoenberg’s] George songs[...] a psalmodizing singing voice joins in the sounds and sequences of the new Schoenbergian grammar. Except that here, the words communicate and provide expression, albeit too insistently in the manner of pretentious, morbidly sensitive moods.” 17 | Julius Korngold, “Feuilleton. Novitäten im Konzertsaale”, in: Neue Freie Presse, 16 February 1910 (morning edition), pp. 1–3, here pp. 1–2. (“Oktave Mirbeau’s painter” is presumably the protagonist from Octave Mirbeau’s novel Dans le ciel [L’Écho de Paris 1892–1893].) For further reviews, see also Richard Specht, “Konzerte”, in: Der Merker 1 (1909/10), No. 10, p. 437, and r. h., “Feuilleton” (see note 15). 18 | Both these leaves are held by CH-Bps, Anton Webern Collection. Facsimiles have been published in Ahrend, “Spurensuche” (see note 7), pp. 62 f. The order of these songs, without regard to the original spelling of the titles or to the annotations in them (see below), was already established by Moldenhauer in his “Prefatory Note” to Anton Webern, Four Stefan George Songs, ed. Peter Westergaard, New York: Carl Fischer, 1970, p. ii, and in Hans and Rosaleen Moldenhauer, Anton von Webern. A Chronicle of His Life and Work, London: Victor Gollancz, 1978, p. 118 f. See also the introduction to The Anton Webern Collection, ed. Mathew R. Shaftel, New York: Carl Fischer, 2004, p. xiii, who refers to the deletions made in the list for “Op. 4”, though he does not mention the annotations. 19 | The lists were written on different types of paper; red ink was used for “Op. 2”, black ink for “Op. 4”; “Op. 2” was written mostly in German cursive script, whereas “Op. 4” uses cursive and Latin letters alternately; and the titles of the poetic cycles in George are only given in the case of “Op. 4”. 20 | It is possible that the inclusion of Eingang M 138, “Im Morgentaun” M 136 and “Kahl reckt der Baum” M 137 in “Op. 2” indicates that the first versions of these songs – regardless of their writing style and the type of paper used – were in fact written before Trauer I M 145, which is at the head of the list of songs for “Op. 4”; in other words, they were written before the end of May 1909. However, it is notable that both collections contain an equal number of songs (seven each), which would seem to be a counterargument against Webern having made a purely chronological selection for these two collections. 21 | In fact, the vertical stroke of this angle mark is the longest when compared with the others, i. e. it extends the farthest beyond the line in question. The form of this marking could well be understood as referring to both lines. For further possible interpretations, also of the other markings, see Ahrend, “Spurensuche” (see note 7), pp. 60–66. 22 | See Schoenberg to Hertzka, 7 October 1909 (cited as in Julia Bungardt, “Einleitung”, in: Anton Webern, Briefwechsel mit der Universal-Edition, ed. Julia Bungardt, Vienna: Lafite, 2020 [Webern-Studien 5], p. 12): “Dear Director, as arranged, I hereby inform you that I shall visit you on Sunday morning at about 11:30 a.m., together with my pupil Dr Anton von Webern, in order to play you my piano pieces and compositions by Webern. […].” 23 | See the explanations in Moldenhauer, Anton von Webern (note 18), p. 722 f., who tends to a contrary opinion. Regarding “Erwachen aus dem tiefsten Traumesschoße” and Kunfttag I, he writes: “originally planned for Op. 3”, and for Trauer I and “Das lockere Saatgefilde”, “originally planned for Op. 4”. 24 | For a contrary opinion, however, see Robert W. Wason, “A Pitch-Class Motive in Webern’s George Lieder, Op. 3”, in: Webern Studies, ed. Kathryn Bailey, Cambridge: Cambridge University Press, 1996, pp. 111–134, here p. 133: “[A]fter all, it seems likely that Webern would have set George’s lieder in continuity; moreover, Webern may well have experimented with various orderings later on, after having composed all fourteen songs, only to return to his initial conception for publication.” 25 | The cycle Lieder in George’s Der siebente Ring is divided into a “Vorklang” (“prelude”) and several numbered sequences of poems plus individual poems. In his Op. 3, Webern arranged his first to fifth songs in the same order as in their source; they were all taken from the first sequence of George’s Lieder, namely “Lieder I–VI”. He did not set the sixth song of the sequence, “Kreuz der strasse ...”. The designation “(Lieder I–IV)” after “An bachesranft....” in Webern’s list for his Seven Songs “Op. 4” is probably a mistake, the intended designation being “I–VI”. 26 | Webern to Schoenberg, 5 June 1911 (US-Wc [cited as in the digitized copy in A-Was: ID 21863]): “I’m quickly organizing a copy of my quartet myself and will send it, the violin piece[s] and some 10 songs.” See also Moldenhauer, Anton von Webern (note 18), p. 145. 27 | See Webern to Schoenberg, 30 September 1911 (US-Wc [cited as in the digitized copy in A-Was: ID 21900]): “The ‘Dreililien’ publishing house has sent my things back. They ‘unfortunately’ could not decide to [publish them]. I will now send them to D[r] Tischer.”. – See also Webern to Jalowetz, 23 October 1911 (Webern, Briefe an Heinrich Jalowetz [note 10], pp. 168–171, here p. 169: “[…] I have sent Dr Tischer several things for his publishing house (prompted by Schoenberg).” Moldenhauer, Anton von Webern (note 18), p. 155, and the commentary to Webern, Briefe an Heinrich Jalowetz [note 10], p. 172, write of “nine George songs”. 28 | See Webern to Gerhard Tischer (Tischer & Jagenberg), 2 January 1912 (Moldenhauer, Anton von Webern [note 18], p. 140): “I regret very much that you are not accepting my compositions for publication”, and Webern to Königer, 11 January 1912 (A-Wn, HS 975/7–8): “Dr Tischer has sent my music back to me. So I’ve been rejected for the third time.” Webern is presumably counting the meeting that Schoenberg organized with Hertzka on 9 October 1909 (see above, note 22) as the first of these attempts to get a publisher. 29 | Webern to Königer, 23 November 1911 (A-Wn, HS 975/7–6). The “sketch” mentioned in this passage from the letter remains unidentified. As far as we can determine, Webern did not copy out the song again, and it is unclear as to whether the sketch he mentions actually existed. See also Stefan Münnich, “Quellenverluste (Deperdita) als methodologischer Unsicherheitsbereich für Editorik und Datenmodellierung am Beispiel von Anton Webern’s George-Lied op. 4 Nr. 5”, in: Die Modellierung des Zweifels – Schlüsselideen und -konzepte zur graphbasierten Modellierung von Unsicherheiten, ed. Andreas Kuczera, Thorsten Wübbena and Thomas Kollatz, Wolfenbüttel: Forschungsverbund Marbach Weimar Wolfenbüttel, 2019 (Zeitschrift für digitale Geisteswissenschaften / Sonderbände 4), online resource, DOI: 10.17175/sb004_005. In our Critical Report, we refrain from hypostatizing the possible existence of this further, inextant source. 30 | Webern to Königer, 11 January 1912 (A-Wn, HS 975/7–8). 31 | Webern to Berg, 25 January 1912 (cited as in Briefwechsel Anton Webern – Alban Berg, ed. Simone Hohmaier and Rudolf Stephan [Briefwechsel der Wiener Schule 4], publication in preparation): “The day before yesterday I got the proofs of my song that will appear in the ‘blauer Reiter’. Did you also get [the proofs of] your song? Schoenberg is bringing his new song ‘Herzgewächse’.” 32 | Webern to Schoenberg, 13 June 1912 (US-Wc [cited as in the digitized copy in A-Was: ID 21913]): “I have finally received the ‘blauer Reiter’.” 33 | Webern to Berg, 19 February 1912 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]). Schoenberg’s Second String Quartet, Op. 10, had been published using the Straube lithographic press in February 1909. The “first” Quartet refers to Webern’s Five Movements for String Quartet M 147–151, to distinguish these from his Four Pieces for String Quartet M 171–174, composed in 1911, which in their later versions became four of his Six Bagatelles for String Quartet, Op. 9. His “older 6 orchestral pieces” M 152–157 are similarly to be differentiated from his orchestral pieces M 169–170, also composed in 1911, which were later subsumed into his Five Pieces for Orchestra, Op. 10. 34 | Arnold Schoenberg, Berliner Tagebuch, ed. Josef Rufer, Frankfurt am Main: Propyläen, 1974, p. 25 (15 February 1912). See also ibid., p. 20 (5 February 1912): “Looked at Webern’s ‘Passacaglia’. Truly excellent. Very good and highly original. Webern will surely become something extraordinary”, and ibid., p. 27 (17 February 1912): “The Weberns visit us on the evening. They play a very beautiful song by Webern that Winternitz sang back then. I only see now how beautiful it is. A true song; and [I see how] Winternitz sang it equally without meaning and soul, just as she sang my George songs.” 35 | Webern to Schoenberg, 9 August 1912 (US-Wc [cited as in the digitized copy in A-Was: ID 21931]). Schoenberg had already written to Simrock, recommending Webern’s compositions to them (see Bungardt, “Einleitung” [note 22], pp. 14 f.). 36 | Webern to Schoenberg, 10 September 1912 (US-Wc [cited as in the digitized copy in A-Was: ID 21939]): “[…] I got my compositions back from Simrock today. He writes that he can’t publish them.” 37 | See Webern to Schoenberg, 4 January 1913 (US-Wc [cited as in the digitized copy in A-Was: ID 21970]): “I will soon send my songs (a selection of them) to this publisher. Perhaps something will come of it after all”, and Webern to Schoenberg, 20 January 1913 (US-Wc [cited as in the digitized copy in A-Was: ID 21975]): “Today I am finally sending my songs to Gadow in Hildburghausen. I am eager [to know] if something will come of it.” For information on the publishing house Gadow, which is barely known today, see Rudolf Schmidt, Deutsche Buchhändler. Deutsche Buchdrucker, vol. 6, Eberswalde: n. n., 1908, p. 1072: “Besides publishing 7,600 copies of the ‘Tägliche Nachrichten’ and the ‘Hildburghäuser Kreisblatt’ [...], this company is primarily engaged in publishing schoolbooks, collections of songs for choir, and calendars. This printing company prints books, commercial materials and especially music.” 38 | See Hertzka to Schoenberg, 24 June 1914 (cited as in Bungardt, “Einleitung” [note 22], p. 24): “If general conditions have improved by next year and the Amsterdam performance of the orchestral pieces (Webern’s) or any other performances of Webern will have taken place, then I shall accept something of his for Universal Edition, because I know that this will make you happy.” 39 | Webern to Jalowetz, 28 June 1914 (Webern, Briefe an Heinrich Jalowetz [note 10], p. 311). See also Webern to Schoenberg, 25 June 1915 (US-Wc [cited as in the digitized copy in A-Was: ID 18255]): “Oh, God, this is wonderful. So I’ll have to wait until the second half of next year. Hertzka promised me that he will definitely publish something around that time; the chorus and a volume of songs or the violin pieces.” 40 | See Bungardt, “Einleitung” [note 22), pp. 25 f.: “Given the new situation, the company’s priorities shifted with regard to how they might utilize their available capacity for promising and ‘contemporary’ projects and products, which now primarily comprised ‘war music’ and works of music theatre. In 1915 and in the subsequent war years, they accordingly signed initial contracts with composers who were ‘new to our publishing house’. However, contributions by Webern to those genres were neither forthcoming, nor to be expected.” 41 | Das moderne Lied. Eine Sammlung von 50 Gesängen für mittlere Stimme, ed. Josef V. v. Wöss, Vienna: Universal Edition, 1915. See also Berg to Schoenberg, 20 July 1914 (cited as in Briefwechsel Arnold Schönberg – Alban Berg, ed. Juliane Brand, Christopher Hailey and Andreas Mayer [Briefwechsel der Wiener Schule 3], vol. 1, p. 492): “Anyway, we’ll be writing to Webern for a song. I think he’ll send one of his George songs.” 42 | See Webern to Hertzka, 23 July 1914 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], p. 87): “In response to your letter of 20 July, I am sending you 3 songs of mine to choose from. I hope that these songs are short enough.” See also Webern to Hertzka, 29 September 1914 (ibid., pp. 87 f.): “Please let me know whether the two songs of mine that I sent to Universal-Edition in July at their request for possible inclusion in their collection ‘Das moderne Lied’ are still needed. If not, please send the songs back to me as soon as possible. I have no other copies of them.” It is unclear why Webern only mentions two songs here, not three. 43 | See Kalmus to Berg, 27 July 1914 (cited as in Bungardt, “Einleitung” (note 22), p. 25): “[…] including your song (and also the song by Dr v. Webern) [would] entail rearranging the content of the whole volume [...], meaning that we would have to organize a very different order for the songs that are already being engraved […].” 44 | This title page is also mentioned by Elmar Budde (though without any reference to the corrected opus number): Anton Weberns Lieder op. 3. Untersuchungen zur frühen Atonalität bei Webern, Wiesbaden: Steiner, 1971 (Beihefte zum Archiv für Musikwissenschaft 9), p. 13, and Moldenhauer, Anton von Webern (note 18), p. 119. The same title page also bears the title – written and framed in pencil – “5 Lieder | op. 4 [corrected from ‘5’]”, which presumably refers to the Five Songs on Poems of Stefan George that were published as Op. 4 in 1923. The entire page has been crossed out several times, and it is part of the back page of a sheet of paper used as a cover for the fair copy of the Five Songs, Op. 4, in H. 45 | See Webern to Jalowetz, 10 January 1915 (Webern, Briefe an Heinrich Jalowetz [note 10], pp. 332–334, here p. 333: “I had been busy with revising, partially reworking, re-orchestrating and copying my previous things etc. Now, I think, everything is in order, as far as I’m able to judge it myself.” 46 | This concert ultimately featured again Webern’s Five Movements for String Quartet M 147–151 and the first performance of his Four Pieces for Violin and Piano M 161–164. See “Neue Kompositionen von Alban Berg, Karl Horwitz und Anton von Webern”, 24 April 1911, Vienna, Ehrbar Hall. Reprint of the programme in Alban Berg, ed. Erich Alban Berg, Leben und Werk in Daten und Bildern, Frankfurt am Main: Insel, 1976, p. 119. See also Webern to Berg, 14 April 1911 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “I don’t have my songs here at all; they are in Berlin with my wife. And she is at present in a sanatorium; apart from a woman caretaker, no one is there who could get into the apartment. And it will be too late by the time I come to Vienna. This young lady will hardly be able to learn these songs in 3 days. It won’t be possible like that.” We do not know who had been proposed to sing these songs. 47 | Webern to Berg, 2 June 1912 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “I think it would work quite well to do 4 of my songs instead of my violin pieces (if they are not possible). [...] I think that it’ll be OK with Winternitz if she sings something else that evening. [...] But hopefully it will all be unnecessary, and Rosé will play.” 48 | Webern to Schoenberg, 7 October 1913 (US-Wc [cited as in the digitized copy in A-Was: ID 22024]). 49 | See e. g. Neue Freie Presse, 20 February 1913, p. 13. 50 | See e. g. “Große Lärmszenen im Musikvereinssaale. Bei einem Arnold[-]Schönberg-Konzert”, in: Neue Freie Presse, 1 April 1913, p. 13. 51 | See the leaf inserted before fol. 1 in C: “Le manuscript fut venus à Marya Freund vers 1914.” If this date is correct, this would also be a terminus ante quem for the composition of version 3 of the song in C and the corresponding layer of corrections in F. This note was presumably made by Freund’s son, Dodo Conrad (“D. C.”). 52 | See Webern to Schoenberg, 12 October 1913 (US-Wc [cited as in the digitized copy in A-Was: ID 22025]): “We will shorten the programme. Perhaps without the vocal stuff.” 53 | Verein für musikalische Privataufführungen in Wien, “Mitteilungen Nr. 5”, 16 March 1919 (A-Was, Resource ID 4957), pp. 2 and 7 (programme No. 45): “Four Songs, Op. 3, from Der siebente Ring by Stefan George”. We know nothing about why the song was omitted that was later made No. 3. It is possible that Webern’s idea for this collection at that time indeed only encompassed four songs, and that he changed the number for the repeat performance and for the work’s publication (which he might well have only begun to plan at this time). 54 | See Gottfried Kassowitz to Berg, 7 June 1919 (A-Wn, F21.Berg.920/15 Mus Mag): “The performance of the Webern songs was again quite wonderful [...]. [...] Should I have sent you the Webern songs? [...] They were available for sale punctually yesterday, in time for the performance, and they have come out very well, both in their extremely clear, beautiful engraving and in their very beautiful external appearance.” See also Berg to Webern, 18 June 1919 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “I finally have the engraved songs too! They have turned out very beautiful. I am really happy about them. These songs and Pierrot are now the only scores that I have here.” 55 | See Bungardt, “Einleitung” (note 22), p. 26: “The songs […] were engraved and printed by Waldheim-Eberle at the expense of the Verein and on Schoenberg’s initiative.” 56 | The List of Sources in our Critical Report does not include such sources that may not have survived. 57 | The dedication copy for Schoenberg (A-Was, PM_Lg14) is dated “4. VI. 1919 Mödling”, i. e. two days before the work’s complete performance at the Verein’s concert. The dedication reads: “Dearest friend, the fact that I have written these songs, that they have been sung and ultimately also engraved: I owe all this to you. I can only express my gratitude to you by saying: accept once again the assurance of my everlasting loyalty and devotion. Your Webern.” 58 | See Bungardt, “Einleitung” (note 22), pp. 26 and 30, and Webern, Briefwechsel mit der Universal-Edition, (note 22), Appendix, pp. 336 f. Universal Edition took on 137 copies and pasted its own publishing information over that of the Verein. A second edition, published by Universal Edition in the summer of 1923 (M), used the same engraving as the first (as do all later, posthumous editions). 59 | Webern, Briefwechsel mit der Universal-Edition (note 22), Appendix, pp. 336 f. 60 | See the extant concert programme in A-Was: CP 5580. See also the letter of 2 December 1923 from Rufer to Schoenberg (US-Wc [cited here as in the digitized copy in A-Was: ID 15189]): “[R]egrettably, Miss Jungbauer had such stage fright for the Webern songs that the first 3 failed completely, even though we sang through everything once more an hour before the performance and everything was quite impeccable!!” 61 | See Moldenhauer, Anton von Webern (note 18), p. 524. See also Erich Schmid, Lebenserinnerungen, vol. 3: “Konzertprogramme und Radioaufnahmen”, ed. Lukas Näf, assisted by Othmar Wüthrich, Bern: Peter Lang, 2014, p. 48. 62 | See Ivan Vojtěch, “Die Konzerte des Prager Vereins”, in: Schönbergs Verein für musikalische Privataufführungen, ed. Horst Weber, Munich: edition text + kritik, 1984, pp. 115–118, here p. 115. 63 | See Webern to Hertzka, 21 March 1925 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 106 f., here p. 107): “[…] Mrs Herlinger sang songs by me”, and the commentary by the editor. 64 | See Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936. Shaping a Nation’s Tastes, Cambridge: Cambridge University Press, 1999 (Music in the Twentieth Century 10), p. 345. 65 | See Moldenhauer, Anton von Webern (note 18), pp. 265 f. 66 | See the facsimile of the programme in Moldenhauer, Anton von Webern (note 18), p. 358. 67 | See Universal Edition (Erwin Stein) to Webern, 18 November 1931 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 171 f., here p. 171): “[…] Amsterdam performed your 4 Songs Op. 12 and 2 songs from Op. 3 (I haven’t yet been able to find out which) on the 18th of this month”, plus the commentary of the editor. 68 | See Moldenhauer, Anton von Webern (note 18), p. 403. 69 | See Webern to Hildegard Jone, 10 December 1934 (A-Wn, HS 431/1–143): “On Monday, the 17th, in a concert of the Verein f. neue Musik [...] Ms. Mihascek [sic] [...] will sing my Songs Op. 3; (there are five); Steuermann will be accompanying. Ms. Mihascek [sic] was the first to sing the complete opus of these songs back then. I think she will do it beautifully again.” See also [Paul Stefan], “Konzert-Tagebuch”, in: Die Stunde, 19 December 1934, p. 4. See also Moldenhauer, Anton von Webern (note 18), p. 419. 70 | See Moldenhauer, Anton von Webern (note 18), p. 524. See also Schmid, Lebenserinnerungen, vol. 3 (note 61), p. 48. 71 | See Erich Schmid, Lebenserinnerungen, vol. 1: “Autobiographie”, ed. Lukas Näf, Bern: Peter Lang, 2014, p. 327, and ibid., vol. 3 (note 61), pp. 53 f. The songs performed on this occasion most likely comprised the same selection of Webern’s songs that the same performers had included in their concert of 10 February 1940 in Basel. 72 | See Moldenhauer, Anton von Webern (note 18), pp. 553 f. This concert included the world premiere of the Three Songs Op. 23 by the same two performers. The dates of composition of the individual continuity drafts for the Four Songs, Op. 12 can be divided into two clearly separate phases. Webern initially composed “Der Tag ist vergangen” M 212 and “Schien mir’s, als ich sah die Sonne” M 213 in early 1915; in the spring of 1917, he wrote Gleich und Gleich M 216 and Die geheimnisvolle Flöte M 217. Both of these phases occurred during a creative period that lasted from ca 1914 to the mid-1920s that was notable for Webern’s having concentrated on vocal composition, especially works for solo voice with ensemble accompaniment, most of which were published from 1924 onwards in his Opp. 13–19 (cf. AWG I/4). The genesis of the Four Songs, Op. 12 should also be seen in this context. Since they were composed for voice and piano, the present edition has assigned them to AWG Section I/5. The gap of more than two years that occurred during the composition of the songs of Op. 12 was a result of a radical historical caesura: the First World War. When it broke out in late July 1914, it also forced Webern to change all his hitherto plans. He had been appointed as a conductor to various theatres from 1909 onwards, but had suffered repeated health problems, and so had undergone therapy with the psychoanalyst Alfred Adler from August to October 1913. After this, Webern once more felt in a condition to be able to assume conducting duties. He had accordingly accepted such a position in Stettin (today Szczecin in Poland) for the summer of 1914, but this engagement was cancelled because of the war. Webern was initially enthusiastic about the onset of war, and now sought to enrol in the military instead. However, his age and state of health meant that he was not called up until November 1914. In February 1915, he was stationed first in Klagenfurt and then in Gorizia as part of a “one-year” training course.73 Apart from several brief interruptions, Webern remained in military service until the end of 1916. The two songs with piano that Webern composed in January 1915 were the first compositions that he completed after the beginning of the war, and the only works that he completed before being deployed. Webern had written to Heinrich Jalowetz in mid-December 1914, saying that he had “begun something again”,74 and reported to him once more on 10 January about his continuing productivity – a few days before dating his continuity draft for “Der Tag ist vergangen” M 212 in A (13 January 1915): “I am now writing something new again, i. e. I’m really only just getting down to it.”75 The text for “Der Tag ist vergangen” M 212 was taken from Peter Rosegger’s novel Peter Mayr, der Wirt an der Mahr. Eine Geschichte aus deutscher Heldenzeit.76 This book is about a historical figure from the so-called Tyrolean freedom struggles after 1805 whose crises of conscience are depicted as akin to the martyrdom of a saint. He is torn between his social and religious longings for peace on the one hand and his efforts to help attain political and national emancipation on the other. Webern had read the book in early 1915, as can be seen from his letter to Arnold Schoenberg of 9 January in which he quotes a lengthy passage from it about a revelatory religious experience.77 However, Rosegger had already been of great importance to Webern since 1912 at the latest, as is especially clear from the numerous times that Webern mentions him in his letters to Alban Berg and Schoenberg.78 Besides Webern’s interest in the religious sphere evoked in the book, its nationalistic tenor might well have corresponded to his own euphoria for the war after its outbreak in mid-1914. In this two-strophe poem (which in older editions of the novel was published as four strophes), Rosegger uses formulae from traditional, popular songs of pilgrimage.79 He situates his poem in an evening scene of an act of military resistance disguised as a mass pilgrimage, in which several pilgrims sing the “melancholy notes of this song” with “bright voices”. Webern presumably made the fair copy of version 1 of “Der Tag ist vergangen” M 212 in B shortly after the dated continuity draft. It is impossible to determine precisely when he made the revisions in A and B and the resulting copy of version 2 in C. Nevertheless, the red ink that he used for the text underlay in both B and C as well as the cursive script indicate that they were all made at a similar time, presumably before Webern was stationed in Klagenfurt. In any case, version 2 served as the engraver’s copy for the single print of “Der Tag ist vergangen” M 212 in the Musikblätter des Anbruch in May 1922 (E).80 When it was to be published in the collection Four Songs, Op. 12 (G) in 1925, Webern made his own engraver’s copy (version 3 in F). As with many of his other settings of Rosegger’s texts, Webern refrained here from indicating the author in all the copies and prints of this song. In his Four Songs, Op. 12, he identifies it as a “folk song”. In a letter to Schoenberg dated 21 January 1915, Webern tells him he has completed a “song with piano” (presumably “Der Tag ist vergangen” M 212) and mentions that he has “begun” two other songs.81 One of these might have been “Schien mir’s, als ich sah die Sonne” M 213, whose continuity draft in A is dated 31 January 1915 (the second song was presumably the Trakl setting “In der Heimat” M 214, which remained unfinished). The text of “Schien mir’s, als ich sah die Sonne” M 213 was taken from August Strindberg’s play Ghost Sonata (whose original Swedish title was Spöksonaten). A copy of the German translation by Emil Schering has been preserved in Webern’s library that bears the autograph date “2. VII[.] 09.” (which was Wilhelmine Mörtl’s 23rd birthday).82 Webern had already discovered Strindberg’s works in 1908, after which this author played a decisive role in his communications with both Schoenberg and Berg.83 The poem in question appears twice as a song in Schering’s edition of the play: at the close of the second act, and shortly before the end of the third and final act, when the (fatal) exchange between the “Student” and the “Young Lady” takes place. The song is sung by the Student, who is accompanied the first time by the Young Lady “on a harp”, while the second time, after the death of the Young Lady, it “whispers in the strings of the harp”. Webern had already begun a setting of this poem in a short sketch for women’s and children’s chorus (“Schien mir’s, als ich sah die Sonne” M 198), which he dated “Winter 1913/1914” (though this date was presumably added later). This sketch, however, never proceeded beyond the first line. The copy of the song with piano “Schien mir’s als ich sah die Sonne” M 213 in C was based on the continuity draft in A and bears numerous traces of having been revised. It is not possible, however, to discern the musical text unambiguously as it existed before those corrections. The use of cursive script and of the same red ink for the text underlay that we find in the copies of “Der Tag ist vergangen” M 212 in B and C suggests that the basic layer of “Schien mir’s als ich sah die Sonne” M 213 was written at roughly the same time. It is therefore possible that it was also composed before Webern was stationed in Klagenfurt in February 1915. No compositional efforts of Webern’s have survived from his time in the military in 1915 and 1916. He wrote to Jalowetz as follows in January 1917: I’m now recovering gradually from these 2 years – mentally. Only now can I really feel the effect. I’m slowly getting back on track, finding my way. I’m gradually remembering what I’d been thinking before, and where I had reached.84 The first composition that Webern completed after his two years in the military was Gleich und Gleich M 216, whose continuity draft in A is dated 31 March 1917. This was only Webern’s second-ever setting of Goethe, after his song with piano Blumengruß M 2085 of 1903. We have no details of Webern’s Goethe reception before 1917, though we do find sporadic mentions of his having read the poet.86 According to the handwritten list of books and scores that Webern began keeping in the 1910s, he owned the following edition of Goethe: Sämtliche Werke. Jubiläumsausgabe in 40 volumes, Stuttgart and Berlin: Cotta, [1902–1912].87 Further traces of his compositional engagement with Goethe’s works during these years can be found in two further sketches/fragments from 1917 (Gegenwart for voice [baritone?] and piano M 220) and 1918 (Cirrus for voice and orchestra M 235).88 Version 1 of Gleich und Gleich M 216 fully notated in C presumably dates from shortly after the continuity draft. It reveals changes that point to version 2 in F, which was prepared for the song’s publication in 1925. Another, unrevised copy of version 1, found in D, can be confirmed as postdating C, not least because its text underlay is written in Latin script. However, we do not know the precise date when this version was committed to paper, nor why it was made. The designation “Op. 12” in its title suggests that its earliest possible date is some time after April 1920 (see below). In one of his later lectures, “Wege zur neuen Musik” (“Paths to New Music”) of early 1932, Webern mentions the introductory measures of Gleich und Gleich M 216 as an example of his having already grasped intuitively the principles of later twelve-tone composition, since they present all twelve pitch classes of the chromatic scale. “The law was not yet known to us back then, but it had long been felt.”89 The next Goethe settings that Webern completed, the Two Songs for Mixed Chorus, Op. 19, only date from 1925/26. They are among his first explicitly twelve-tone compositions and are also the last settings of Goethe that he ever completed. The continuity draft of Die geheimnisvolle Flöte M 217 in A is dated 10 April 1917, thus immediately after Webern had completed Gleich und Gleich M 216 (though his letters of this time to Berg, Jalowetz and Schoenberg mention neither of these works). The text he set in Die geheimnisvolle Flöte is a free adaptation of a poem by the Chinese writer Li Tai-po (today more commonly referred to as Li Bai), taken from Hans Bethge’s collection Die chinesische Flöte (The Chinese Flute), which was first published in 1907. The copy of the fourth edition of this book that has survived in Webern’s library bears the handwritten date “3. 12. 12.” (thus 3 December 1912, his 29th birthday) on the reverse of the front cover.90 Webern will have been aware of several poems from this collection at least one year previously, as Gustav Mahler had set them in his Lied von der Erde, whose world premiere Webern had attended on 20 November 1911 in Munich.91 Webern composed Die Einsame M 199 from Die chinesische Flöte for voice and orchestra in February 1914, and followed this in July 1917 with In der Fremde M 223, later including both these songs in his Four Songs for Voice and Orchestra, Op. 13. Two more unfinished sketches by Webern have survived that use texts from Die chinesische Flöte: Nächtliches Bild M 233 (from autumn 1918) and Der Frühlingsregen M 244 (probably from 1920). The basic layer of the copy in C of Die geheimnisvolle Flöte M 217 (version “0”) can no longer be deciphered clearly. However, as in the case of Gleich und Gleich M 216, also in C, it was probably written shortly after the continuity draft and contains alterations in ink and pencil. Together with an intermediate stage that also cannot be determined with any clarity, these changes might have been pointing towards version 1 found in F, which was made with a view to publishing the song in 1925. It was in 1920 at the latest when Webern brought together these four songs with piano to form a collection with an opus number. It was presumably sometime after April 1920 that Webern drew up a handwritten list of his works for Universal Edition in which he designated these as “4 Songs with Piano” and gave them the number “Op. 10”.92 This is the number that they were originally given on the cover page of source C, though this was later deleted and corrected to “Op. 12”.93 This change was made no earlier than the beginning of 1921, when Webern was busy numbering other works. In an article published by Egon Wellesz in February 1921, these songs are explicitly mentioned as being Webern’s “opus 12”.94 The music examples given in this article were prepared on the basis of version 2 of “Der Tag ist vergangen” M 212 and version 1 of Gleich und Gleich M 216, and thus presumably used C as their source (or possibly D in the case of M 216 in the corresponding stage of corrections). In May 1922, version 2 of “Der Tag ist vergangen” M 212 was published separately (though with a remark that it belonged to Op. 12) as a music supplement to the Musikblätter des Anbruch (E). Webern revised his personal copy of “Der Tag ist vergangen” M 212, EH, resulting in version 3, and he revised Gleich und Gleich M 216 in C, resulting in version 2 of the song. By the turn of the year 1924/25 at the latest, Webern had produced an engraver’s copy, F, of his Four Songs, Op. 12, which he then offered to Universal Edition in a letter of 3 January 1925 to its director, Emil Hertzka, in which he mentioned it as being one of the works he “currently had ‘in stock’”. He clearly submitted the work to them shortly afterwards.95 On 12 June of that year, he sent the second proofs of the engraved music back to his publisher, and on 20 June he returned the proof of the title page.96 Print G of the Four Songs, Op. 12 was published on 30 September 1925 in an edition of 499 copies.97 Webern received an enthusiastic reaction from Alban Berg, who wrote to him just a few days after these songs were published: What great pleasure you have given me, my dear, with your Op. 12! This is once again – just like everything by you – a real Webern. Even the way you have compiled the wonderful texts and have brought them together into a single whole! Not to mention the music! Yes, it seems to me as if I were to see you in a completely new way. What a tone you strike in the Strindberg song. And overall, what variety there is in these 4 songs. The last one, for example: such gracefulness. One can safely say that we will not find this anywhere else in the whole music repertoire –: such a song by you is for me a veritable fount of joy, a joy that shines out over my whole being. It’s like when the sun suddenly bursts forth on a gloomy day, and you just don’t know why you suddenly feel happy again.98 The world premiere of Webern’s Op. 12 in its entirety took place on 8 January 1927 in the small hall of the Vienna Musikverein, sung by the Dutch singer Co van Geuns with Eduard Steuermann at the piano. The same concert saw the world premiere of Alban Berg’s Lyric Suite, performed by the Vienna String Quartet (the Kolisch Quartet), plus a performance under Webern’s baton of Johann Sebastian Bach’s Concerto for Four Pianos BWV 1065.99 Webern wrote to Schoenberg a few days later, offering a succinct commentary on the performance of his songs: “On the same evening as Berg’s quartet, a song opus of mine was also given its first performance. It went very well.”100 The Arbeiter-Zeitung afterwards featured a positive review of the concert in which it placed Berg’s work in the foreground and offered a comparatively brief report of Webern’s Four Songs, Op. 12: New songs by Anton W e b e r n, which Co van G e u n s sang with exceptional musicality, led by Eduard S t e u e r m a n n at the piano, were also a great success. Here, brief lyrical poems are pressed into musical forms whose composition cannot be clear to the impartial listener. So he must hold on to the expressive values that can be found here in abundance, even if the strange course of the singing voice makes it difficult to follow all the time. The songs had to be repeated and this made them easier to understand.101 According to a diary entry by Webern, Gleich und Gleich M 216 had already been sung by a “Dutch [woman] singer” in October 1926,102 presumably also van Geuns, who also performed songs by Webern (probably also from Op. 12) and by Alexander Zemlinsky in Cologne sometime after the world premiere of the Four Songs, Op. 12 of early January 1927.103 As with the George songs, several performances during Webern’s lifetime (probably with his consent or even at his suggestion) took place at which only a selection of the Four Songs, Op. 12 was sung, or at which selected songs from that opus were combined with individual numbers from the George songs Opp. 3 and 4. Apart from the performances with van Geuns already mentioned above, we have proof of the following concerts having taken place: – 26 October 1928, London, Wigmore Hall, Ruzena Herlinger and Eduard Steuermann: Opp. 3/1, 3/2, 3/5, 12/1 and 12/4.104 – 25 October 1929, Brussels, Palais des Beaux-Arts, Ruzena Herlinger and Stefan Askenase: songs from Opp. 4 and 12.105 – 13 April 1931, Vienna, Small Hall of the Musikverein, Aenne Michalsky and Eduard Steuermann: Opp. 4/1, 3/1, 3/2, 3/5, 12/1 and 12/4.106 – 18 November 1931, Amsterdam, Berthe Seroen and Phons Dusch: Opp. 3/1, 3/3, 12/2.107 – 2 December 1933, Vienna, Small Hall of the Musikverein (Concert of the ISCM on the occasion of Webern’s 60th birthday), Aenne Michalsky and Eduard Steuermann: songs from Opp. 3, 4 and 12.108 – 9 May 1935, Vienna, Musikverein (a concert of the Hertzka Memorial Foundation), Julia Nessy (voice): Four Songs, Op. 12.109 – 21 November 1935, Vienna, Hagenbund (Concert of the Verein für neue Musik), Julia Nessy (voice): Four Songs, Op. 12.110 – 10 February 1940, Basel, Conservatory (Concert of the ISCM, Basel Section), Marguerite Gradmann-Lüscher and Erich Schmid: Five Songs on Poems of Stefan George, Op. 4 and Op. 12/2, 12/4 and 12/1.111 – 28 March 1941, Zurich, guild house “Zur Saffran” (concert of the ISCM, Zurich Section “Pro Musica”), Marguerite Gradmann-Lüscher and Erich Schmid: Five George songs plus three songs from Op. 12.112 Webern had personal contact with most of these performers, and in some cases he also assisted when they rehearsed his songs. In his personal copy of the Four Songs, Op. 12 (GH), we find indications of the durations of the individual songs. We do not know if these were made in connection with any of the performances listed above. 73 | Regarding these stations in Webern’s biography during the war, see Moldenhauer, Anton von Webern (note 18), pp. 174–189 and 209–222. 74 | Webern to Jalowetz, 18 December 1914, in Webern, Briefe an Heinrich Jalowetz [note 10], pp. 329 f., here p. 329). It is possible that Webern is here referring to several fragments that were placed immediately before “Der Tag ist vergangen” M 212 in Moldenhauer’s work catalogue and dated by him “1914” or “1914 or later”, i. e. M 207–211. See Moldenhauer, Anton von Webern (note 18), pp. 702 and 736–739. 75 | Webern to Jalowetz, 10 January 1915 (Webern, Briefe an Heinrich Jalowetz [note 10], pp. 332 f., here p. 333). 76 | First published in Vienna: A. Hartleben, 1891. Webern presumably used the revised version of the novel as published in vol. 19 of Rosegger’s “Collected Works”, Leipzig: Staackmann, 1914, p. 214 (“Der Tag ist vergangen …”): Rosegger_PM. See Elisabeth Kaiser, Rosegger-Rezeption bei Anton Webern, Frankfurt am Main: Peter Lang, 2013, p. 77. 77 | Webern to Schoenberg, 9 January 1915 (US-Wc [cited as in the digitized copy in A-Was: ID 18237]). 78 | For an overview of the works by Rosegger that Webern is proven to have read, see Kaiser, Rosegger-Rezeption, (note 76), pp. 38–41. On 3 September 1914, Webern wrote enthusiastically to Berg that he had seen the writer on a train journey from Klagenfurt to Vienna (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “I saw Rosegger in Krieglach (on the return journey)[.] Wonderful. He travelled for one stop on the same train: to Langenwang.” 79 | See Kaiser, Rosegger-Rezeption (note 76), pp. 76 f. 80 | The text section of this journal writes the following about this song (N. N., “Anton v. Webern”, in: Musikblätter des Anbruch 4/9–10 [May 1922], p. 150): “Our music supplement provides an insight into the essence of his new compositions.” This music supplement correctly dates the song to 1915, thus seven years earlier. 81 | Webern to Schoenberg, 21 January 1915 (US-Wc [cited as in the digitized copy in A-Was: ID 18240]). 82 | August Strindberg, Gespenstersonate, in Strindberg, Kammerspiele, translated into German by Emil Schering, Munich and Leipzig: Georg Müller, 1908 (Strindbergs Werke. Deutsche Gesamtausgabe unter Mitwirkung von Emil Schering als Übersetzer, vom Dichter selbst veranstaltet. I. Abteilung: Dramen. Kammerspiele [9]), [No. 3], p. 46[c] (“Schien mirs, als ich sah die Sonne!”): Strindberg_Gs. Webern’s copy is held by CH-Bps, Anton Webern Collection, and bears the shelfmark AW B 1129. The manuscript date is given on p. [6]. 83 | Regarding the “influence of Strindberg” on Webern, see Ernst Lichtenhahn, “Einleitung”, in: Webern, Briefe an Heinrich Jalowetz (note 10), pp. 9–108, here pp. 80–88. 84 | Webern to Jalowetz, 28 January 1917 (Webern, Briefe an Heinrich Jalowetz [note 10], p. 355). 85 | In Moldenhauer, Anton von Webern (note 18), pp. 700 and 720, Blumengruß is designated “M 21”. This was corrected in the German edition (Anton von Webern. Chronik seines Lebens und Werkes, Zurich: Atlantis, 1980, pp. 640 and 651). 86 | See e. g. Webern to Berg, 21 December 1911 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]: “I’m reading ‘Wilhelm Meister’ and am absolutely delighted by this book.” 87 | Gleich und Gleich is found in vol. 1, Gedichte. Erster Teil, p. 19: Goethe_JA. No copies of this edition are known to be extant that might have been in Webern’s possession. The list is held by CH-Bps, Anton Webern Collection. 88 | See Moldenhauer, Anton von Webern (note 18), p. 276. It was Moldenhauer who brought together these two compositions as “Two Goethe Songs” (ibid. p. 661); there is no documentary evidence in the sources to justify his having done so. 89 | Anton Webern, Wege zur neuen Musik, ed. Willi Reich, Vienna: Universal Edition, 1960, p. 55 (lecture of 12 February 1932). 90 | Hans Bethge, Die chinesische Flöte, Leipzig: Inselverlag, 4[1914] p. 35 (Die geheimnisvolle Flöte): Bethge_DchF. Webern’s copy is held in CH-Bps, Anton Webern Collection, shelfmark AW B 1027. 91 | Webern in fact already knew the texts that Mahler had set in Das Lied von der Erde before that work was given its first performance. See Webern to Berg, 30 October 1911 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]): “When you’ve read the close of the texts of the ‘Lied von der Erde’ on the enclosed sheet, my dear, don’t you then expect the most wonderful music in existence; something so magnificent that it has never existed before. ‘Oh, my friend, fortune was not fair to me in this world! Wherever I go and wander in the mountains, I seek rest, rest for my lonely heart!...’ For heaven’s sake, what music this must be! I imagine I ought to be able to think of it already, before even having heard it. Goodness, can you stand it? I can’t.” Regarding the intense impression that Mahler’s composition made on Webern, also in the context of its supposedly ‘Chinese’ texts, see Matthias Schmidt, “Übersetzung ohne Original? Gustav Mahler, Anton Webern und Li Bai”, in: Der doppelte Po und die Musik. Chinesisch-Rätoromanische Studien, besonders zu Li Po, Harry Partch und Chasper Po, ed. Mathias Gredig, Marc Winter, Rico Valär and Roman Brotbeck, with editorial assistance from Daniel Allenbach, Würzburg: Königshausen & Neumann, 2021, pp. 281–299. 92 | A-Wst, on deposit from Universal Edition, Anton Webern. The list is given as an illustration and transcribed in Julia Bungardt, “Einleitung” (note 22), pp. 28 f. This worklist extends as far as the Trakl songs Op. 14, here given as “Op. 12”. 93 | Near this correction, we can also discern “13” in a further layer that has been erased. 94 | Egon Wellesz, “Anton von Webern: Lieder opus 12, 13, 14”, in: Melos 2/2 (February 1921), pp. 38–40. See also Webern to Jalowetz, 13 March 1921 (Webern, Briefe an Heinrich Jalowetz [note 10, p. 481): “There was an article by Wellesz in Scherchen’s journal about my songs Opp. 12, 13 and 14. That really pleased me.” 95 | Webern to Hertzka, 3 January 1925 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 101–104, here p. 101). See also Webern to Hertzka, 21 March 1925 (ibid., pp. 106 f., here p. 106): “Already in early January, I brought you a booklet of 4 songs with piano, Op. 12, and you held out the prospect to me that they would appear soon.” An initial contract dates from 5 February 1925 and a revised contract from 3 April 1925. 96 | See Webern to Universal Edition, 12 June and 20 June 1925 (ibid., pp. 110 f.). 97 | See ibid. (Appendix), pp. 340 f. 98 | Berg to Webern, 12 October 1925 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]). 99 | See the announcement of the concert in: Neue Freie Presse, 5 January 1927, p. 9. According to a review of the world premiere of Berg’s Lyric Suite, it was preceded by Ludwig van Beethoven’s Piano Trio in E-flat Major, Op. 70, No. 2 (see Neues Wiener Journal, 12 January 1927, p. 11; there is no mention here of either Webern’s songs or Bach’s concerto). According to an announcement in: Die Stunde, 9 January 1927, p. 1, Co van Geuns sang “songs by Anton Webern” again the next day in the small hall of the Musikverein. We have no details of this concert. In a letter to Jalowetz of 20 December 1926, Webern wrote of a total of six songs that were to be performed the following January: “In January, a Dutch singer will sing 6 songs by me here in Vienna.” (Webern, Briefe an Heinrich Jalowetz [note 10], p. 570). It is possible that van Geuns had prepared Op. 12 and a selection of Webern’s George songs. 100 | Webern to Schoenberg, 17 January 1927 (US-Wc [cited as in the digitized copy in A-Was: ID 22230]). 101 | pp. [Paul Pisk], “Neue Musik im Konzertsaal”, in: Arbeiter-Zeitung [Vienna], 11 January 1927, p. 7. 102 | Anton Webern, notebook (CH-Bps, Anton Webern Collection). Cited as in Moldenhauer, Anton von Webern (note 18), p. 265. We have no details about this concert. 103 | N. N., “Konzertierende Künstler und neue Musik”, in: Musikblätter des Anbruch 9/3 (March 1927), p. 153: “Co van G e u n s sang songs by Webern and Zemlinsky with success in Cologne.” See also Webern, Briefe an Heinrich Jalowetz (note 10), p. 572. 104 | See Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936 (note 64), p. 345. 105 | See Moldenhauer, Anton von Webern (note 18), p. 265. See also ibid., p. 266: “The same year, three of the Four Songs were heard in Frankfurt.” 106 | See the facsimile of the complete programme in Moldenhauer, Anton von Webern (note 18), p. 358. 107 | See Universal Edition (Erwin Stein) to Webern, 18. November 1931 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 171 f., here p. 171): “[…] Amsterdam performed your 4 Songs Op. 12 and 2 songs from Op. 3 (I haven’t yet been able to find out which) on the 18th of this month”, plus the commentary of the editor. 108 | See Moldenhauer, Anton von Webern (note 18), p. 403. 109 | See Webern to Josef Humplik, 8 May 1935 (A-Wn, HS 431/1–157): “Tomorrow evening, at 6:30, songs by Schoenberg, Berg and myself [the Four Songs, Op. 12] will be sung [...] at an event of the Hertzka Memorial Foundation.” We know that the singer was Nessy, given the connection with the performance of the Four Songs, Op. 12, on 21 November 1935 (see note 110 below). We can no longer determine who played the piano accompaniment. 110 | See H. E. H., “Neue Musik im Hagenbund”, in: Wiener Zeitung, 23 November 1935, p. 9. The pianists for this concert were Olga Novacovic and Eduard Steuermann, though we are unable to determine which of them accompanied Webern’s songs. In Anton von Webern (note 18), p. 451, Moldenhauer erroneously states that Webern’s Concerto, Op. 24, was also performed at this concert, under the baton of the composer. In fact, Webern had announced this work for the concert programme but had then withdrawn it, and the Four Songs, Op. 12, served as its substitute. See Webern to Jone and Humplik, 20 November 1935 (A-Wn, HS 431/1–169): “Now I have to inform you that I have withdrawn my Concerto tomorrow [...]. [...] It is possible that the songs that you heard in May this year will be performed instead of the Concerto [since the same singer will be performing anyway].” See also the commentary of the editor in Briefwechsel Anton Webern und Minna Webern – Hildegard Jone und Josef Humplik. Korrespondenz 1926–1949, ed. Barbara Schingnitz, doctoral thesis, University of Basel, 2019. 111 | See Moldenhauer, Anton von Webern (note 18), p. 524. See also Schmid, Lebenserinnerungen, vol. 3 (note 61), p. 48. 112 | See Erich Schmid, Lebenserinnerungen, vol. 1 (note 71), p. 327, and ibid., vol. 3 (note 61), pp. 53 f. The songs performed on this occasion most likely comprised the same selection that the same performers had included in their concert of 10 February 1940 in Basel. The Three Songs from Viae inviae by Hildegard Jone, Op. 23, which Webern began in early 1933 and completed in March 1934, were his first songs with piano accompaniment to use the method of “composing with twelve tones” – as Webern usually referred to it – and they were also the first vocal work that he had completed since his Two Songs for Mixed Chorus with the Accompaniment of Celeste, Guitar, Violin, Clarinet and Bass Clarinet, Op. 19, composed between late 1925 and the summer of 1926. Webern’s title uses the term “Gesang” for “song”, not “Lied”, which serves as an indication of the extended length of the individual songs when compared to most of his other vocal works. These were also Webern’s first compositions to texts by Hildegard Jone, whose poetry provided him with the basis for all the vocal works that he subsequently completed. Webern presumably first met Jone and her husband, the sculptor Josef Humplik, in autumn 1926 at an exhibition of the Hagenbund in Vienna. This acquaintance led to plans for a collaboration between Webern and Jone by 1928 at the latest,113 and resulted in Jone writing “three opera texts”.114 A letter exists from Webern to Jone, written over a year later, in which he wrote that he wanted “to talk about your dramas”,115 though it remains unclear whether he is referring to the aforementioned three libretti or to other texts by Jone. However, it does seem that Jone still intended to “write [...] a ‘libretto’” for Webern.116 We know that Webern wrote to Jone in September 1930 to apologize that your dramas, which are so beautiful, had obviously not found me in the right state of mind for such work, despite the fact that I was very serious at the time about composing such things.117 Instead, he goes on to ask her in this letter to write him a cantata text.118 Nevertheless, we do not know of any poems by Jone from this same time that might be connected to this request on the part of the composer (as is well known, Webern did indeed compose “cantatas” to texts by Jone, but only between 1935 and 1943; these were Das Augenlicht, Op. 26, the Cantata No. 1, Op. 29 and the Cantata No. 2, Op. 31). Quite apart from such concrete proposals for a possible collaboration, Jone repeatedly sent Webern manuscripts of her poems.119 Given this background, it is worthy of note that Webern first set one of Jones’s poems without any prior consultation with the poet, having taken it instead from an already published collection: Viae inviae, which was published in the autumn of 1932 in the journal Der Brenner.120 This cycle of poems was dedicated posthumously to the philosopher Ferdinand Ebner, who had died in October 1931, and whose Fragment von 1916 (together with an “afterword” to it that he wrote shortly before his death) precedes Jone’s collection of poems in that issue of the journal.121 Shortly before Ebner died, Jone had arranged for Webern to meet him in person.122 And even before that, Jone had repeatedly confronted Webern with Ebner’s ideas, and she in fact later remained active as his editor. Webern’s explicit engagement with Ebner’s writings can only be traced sporadically, from 1934 onwards. Nevertheless, we can discern an implicit reception of Ebner’s work on Webern’s part through Jone’s texts.123 The poems of Viae inviae are divided into two sections, each marked with a Roman numeral: Section I begins with a prologue entitled Dem einsamen Wanderer (“To the Lonely Wayfarer”) and contains within it the cycle Heimgang des Lebens (“Life’s Homecoming”), which is subdivided into three further sections, each with an Arabic numeral.124 The texts that Webern set to music in his Op. 23 are the third section of Heimgang des Lebens, which itself is divided into eight groups of verses of varying lengths. Webern’s three songs comprise verse groups 1–4 (“Das dunkle Herz…”), 5–6 (“Es stürzt aus Höhen…”) and 7–8 (“Herr Jesus mein…”). He did not compose them in the same order in which they appear in the source, though when the songs were complete, he kept their original order. The initial sketches for Op. 23 in A (Sketchbook 3) are dated “1. II. 33” and are for “Herr Jesus mein” M 312 (M 312 Sk1, M 312 Sk1.1 and M 312 Sk2), i. e. the last two verse groups of the third section of Heimgang des Lebens. Webern sketched out a vocal line for the first words of the poem and then developed a twelve-note row from it. In the sketchbook in question, these and the subsequent sketches for Op. 23 constitute an interruption in his work on his Concerto for Flute, Oboe, Clarinet, Horn, Trumpet, Trombone, Violin, Viola and Piano, Op. 24, the first sketches of which already date from early 1931 but which had not progressed beyond 30 measures of the first movement by autumn 1932.125 In fact, since mid-1931, Webern’s health problems and a change of residence, compounded by his numerous conducting responsibilities in 1932, had barely left him either the time or the opportunity to compose. On 3 March 1933, he was able to report to Jone that he had made the first sketches for “Herr Jesus mein” M 312. He furthermore complained about his lack of time, also in connection with this new composition: I am in a considerable state of distress: it is depressing me more than ever that I don’t have the time to compose. I quite spontaneously began setting your beautiful, wonderful poem one day, but I soon had to interrupt my work on it again, and the fact that I allowed myself to sit now and then at our work back in January and February is taking its toll. Now I’m so behind with the other things, with preparing for my concerts, here and in London. How am I supposed to do it? It’s wonderful that your poem is called “Joy”.126 Webern had clearly already told Jone about “our work” even before writing this letter, and the title “Die Freude” (“Joy”) that Webern mentions here refers to a subsequent communication from Jone that the verses set to music by Webern (in a manuscript version independent of their publication in Brenner) belonged to a poem of that title.127 However, Webern seems to have been consistent in using published versions of the poems as the basis for his compositions.128 It was not until two months later, when Webern was busy both with a concert in the Great Hall of the Konzerthaus in Vienna on 19 March129 and with his weekly lecture series “Paths to new music”,130 that he began work on the piano introduction (M 312 Sk3) and wrote the opening of his continuity draft up to measure 8 (M 312 Sk4). He then revisited the opening of this continuity draft from measure 4 onwards, dating this version “31. V. 33” (M 312 Sk4, mm. 4B–5C), which means that it was not begun until after his return from his concert tour in London (16–26 April) and a radio concert with Mahler’s Sixth Symphony that he conducted on 23 May.131 At the close of this continuity draft, Webern wrote: “Maria Enzersdorf | 14. VII. 33”. After a radio concert on 21 July,132 Webern began sketching another song, this time a setting of a text in Brenner that was printed on the same page, directly above the verses that he had already set (“Es stürzt aus Höhen” M 313). He wrote to Jone on 29 July that he had completed the song he had begun previously, and that he had begun work on a new one: I have already been working well. Your texts fulfil me more and more; one of them is already finished, from “Herz Jesus mein” to “Und, ewig Schlafende, auch euch erwartet Tag”. And now I am linking “Es stürzt aus Höhen Frische” – how wonderful is the substance of these words – to “überglüht noch lange Glut” to form a second song. But the order of the two songs will correspond to that of your poems. How deeply they touch me. And I am so glad that I am finally in this position (composing a work to your texts). I had desired this for a long time. After I had finished the first song, I had to interrupt my work for 8 days because I still had to conduct a concert on the radio. I wanted to turn it down. But ultimately – well, you know the reasons why.133 Webern presumably interrupted his work on the continuity draft of this second song when he went on holiday “to an alpine pasture at an altitude of some 1600 m near Kitzbühel in the Tyrol”134 in early August. According to the date given in A, he completed it on “18. VIII. 33” (M 313 Sk4 m. 30C). In a letter to Jone of 3 September, he declared the two songs he had written up to now to be complete “for the moment”: For the moment, I have finished composing the texts from your “Viae inviae”. It has proceeded as I had planned: 1st song: “Es stürzt aus Höhen” up to “den Himmel u. die Seele überglüht noch lange Glut.” 2. “Herr Jesus mein” up to “auch euch erwartet Tag.” (i. e. the whole of page 65 from “Brenner”). I say “for the moment”, because I feel that I might soon have to come back to words of yours. But for the time being, at least, I believe that these 2 songs should remain on their own. They form a whole in musical terms, in the sense that they demonstrate a certain contrast. At the moment, I’m busy again with a purely instrumental piece that I began quite some while ago. How happy I was when I was working with your words!135 Webern also resumed sketching the first movement of his Concerto, Op. 24 in early September, using the same sketchbook. However, he was able neither to finish it nor to work continually on it. At the end of that same month, he was planning to play Jone both of the songs from Op. 23 that he had completed up to now, during one of her stays in Vienna: You will soon be coming to Vienna, thank God. [...] I wonder what you’ll say to my songs that use your texts? How will it seem to you, when you hear your words as music? If only I could keep working. I hope to be able to start again in October.136 It was only in early January 1934 that Webern returned to work on Op. 23, making his initial sketches in A for the song “Das dunkle Herz” M 314 (M 314 Sk1, M 314 Sk2 and M 314 Sk3; these are dated “3. I. 1934” and “5. I. 34”). Its text uses the opening verses that were numbered together as a unit in Brenner, and in this respect it serves as a completion of the two songs that Webern had already composed. In a letter to Jone, Webern emphasised that the order of the verses as printed in the source would continue to determine their order in his cycle, which had now grown to encompass three songs: I’m now finally back at work. It’s: “Das dunkle Herz, das in sich lauscht...”. It’s everything that’s on the page from then on, in other words up to where I was already: “Es stürzt aus Höhen Frische…”. Following the order that you determined, [this new song] shall precede this and the subsequent “Herr Jesus mein…”. It seems to me as if my current state of working is something I have never before experienced like this. I hope it can last!137 Webern’s work on the continuity draft (M 314 Sk3), which he had begun on 5 January 1934, was then interrupted by his radio concert with Felix Mendelssohn Bartholdy’s Violin Concerto and Third Symphony on 28 January.138 Another interruption was occasioned by the street fighting that took place from 12 to 15 February in Vienna and other big cities in Austria between the Republikanischer Schutzbund (the paramilitary organization of the Social Democratic Party in Austria) on the one side, and the army and police under the control of Chancellor Engelbert Dollfuß’s regime on the other. These events had far-reaching consequences for Webern’s career as a conductor (see the details below on the Three Songs, Op. 25) and also had a short-term impact on his state of mind, making it difficult for him to continue work on the song he had begun, as he explained in a letter to Jone of 14 February: Dearest Mrs Jone, The commotion of the last few days has been monstrous and is becoming ever more so. It is barely possible to keep hold of a single thought [...]. [...] And last week, I once again used every free moment to continue working on the poems [sic] “Das dunkle Herz”. I again had a little free time. [...] And now once again – Mrs Jone! [I hear] the thunder of big guns and the rattle of machine-guns. –139 On 20 February, Webern wrote to Humplik, telling him that he had nevertheless reached the passage “an das Wartende im Dunkel” in his continuity draft, thus measure 15.140 By the beginning of March he had got as far as measure 24: “In my work, I have reached: ... ‘ein goldenes Flattern trägt’ and I’m going to continue tomorrow. I still have some free time ahead of me.”141 He reported completing the sketch for the vocal part on 11 March,142 and he dated the continuity draft “15. III. 34” upon finally completing it. In the letter that he then wrote to Jone, Webern gave a relatively detailed description of this new song, and went on to propose a title for the collection of songs he had now finished: Meanwhile, the third song is finished. Because it encompasses the text from “Das dunkle Herz…” to “…ich und du und alle”, it has become rather long and in its musical form it is really a kind of “aria”, comprising a slow section and then a quicker section from “ich bin nicht mein…”, though it nevertheless bears the tempo marking “Very calmly”. This 2nd section is kept in an almost whispering tone. Perhaps you can get a rough idea from this description how I have interpreted your words in the 2nd section in particular: after a great upsurge in the first [section] there is utterly abrupt, complete silence, calm, simplicity. I thought that the title could be this: Three Songs from Viae inviae. May I adopt this title from your poems? I shall send you the manuscript soon.143 In a letter that Webern sent one week later to Alban Berg, he went into greater detail about the work’s formal organization, also regarding the other songs: I have just finished a third song (based on Jone texts). Actually, it’s an aria, comprising a slow section and a quicker section. It will be the first. And I’ve realized that the other two, which I composed earlier, are actually something other than songs (in their form): the one is a straightforward recitative with an arioso, the other (which is now the last of the sequence) is a rondo. Thus, without having actually wanted it, I’ve come to engage with larger vocal forms in this opus. I’ll end up writing an opera after all.144 It is unclear whether Webern here means “finished” to refer retrospectively to the continuity draft whose completion predates this letter by a few days, or whether he is referring to some fair copy that he might already have made. (It is also possible that he had made fair copies of the other two songs shortly after having finished their respective continuity drafts). In any case, the autograph engraver’s copy of all three songs, C, was received by Universal Edition before July, and was accepted for publication on 11 July.145 However, the actual publishing process was delayed considerably. Webern had initially assumed that “U. E. [...] will [print] my last work by the autumn”,146 but by the end of August he learned that his publisher had “regrettably not yet begun” with engraving his songs “due to other, time-critical work”.147 It was not until February 1935 that Webern’s manuscript was finally sent to the engraver – though this order to the engraver was immediately rescinded. The engraver in fact only began work in early January 1936. Webern received the first proofs at the end of that same month, with two further sets of proofs received on 10 and 27 March respectively. The Three Songs, Op. 23 were published on 4 May 1936 in an edition of 302 copies.148 Already in 1935, Webern had hoped that Julia Nessy might sing his Three Songs, Op. 23, but this was not to be.149 The world premiere did not take place until 5 December 1943 at the Basel Conservatory, without the composer being present. This was a concert of the local section of the ISCM, largely organized by Willi Reich, in celebration of Webern’s 60th birthday.150 The pianist Paul Baumgartner accompanied Marguerite Gradmann-Lüscher, who had already given a performance of Webern’s Five Songs on Poems of Stefan George, Op. 4, and a selection from the Four Songs, Op. 12, during Webern’s visit to Switzerland in 1940.151 The reviews of this concert in the Basel newspapers were clearly influenced by the introductory talk given by Reich and focused on offering an overall view of this supposedly “other-worldly” composer, who was thus already being seen as a kind of historical figure: To be sure, the works that were performed (some of which were world premieres) conveyed the impression of being something thoroughly unique, unusual and unworldly. This is a music of the highest spiritual potency, embodying law and power at the same time. One might almost say it is too true to be beautiful, meaning that this music serves only the imperatives of honesty and sincerity, far beyond all notions of aural beauty or discord, and thereby compels its notes unconditionally to submit to the law of the spirit and its power of cognition. [...] But the general development of music cannot reach this point, and nor should it, because only someone who has set himself apart from the world and does not care about its judgements will be able to see these things and to reproduce them in sound: namely Anton Webern.152 Another review wrote only as follows about the Three Songs: Three songs Op. 23 from Hildegard Jone’s Viae inviae were given their first performance. Here, the calm, tender vocal line, which is only occasionally fractured by large leaps, is disturbed by fierce, hard interjections from the accompaniment.153 For an “evening of contemporary poetry” featuring Jone’s poems, planned for the Archbishop’s palace in Vienna on 29 November 1944, Jone and Webern for a while wanted to arrange a performance of both the Three Songs, Op. 23, and the Three Songs, Op. 25,154 which were rehearsed by an unnamed “Swedish [woman] singer” and Webern’s student Fré Focke.155 Ultimately, however, this performance did not take place, and no further plans for performances during Webern’s lifetime are known to us. 113 | See Webern to Jone, 6 August 1928 (A-Wn, HS 431/1–11): “Now let’s hope that something will come of our joint work. The fact that the suggestion came from me might let you realize just how dear to me is your way of thinking, indeed how congenial it is. –” 114 | See Jone to Ludwig von Ficker, 28 November 1928 (Brenner Archive, Innsbruck [cited as in Thomas Reinecke, Hildegard Jone (1891–1963). Untersuchungen zu Leben, Werk und Veröffentlichungskontexten. Zugleich eine Studie zu einigen Figuren im Denken Anton Weberns und den von ihm vertonten Texten, Frankfurt am Main: Peter Lang, 1999, p. 51]): “In the autumn, I wrote three opera texts for Anton Webern, who urgently wrote to me last spring, asking me for something: The Transformation of Love, The Last Encounter, The Spaces of the Interior and its Guests.” A manuscript by Jone entitled Die letzte Begegnung (“The Last Encounter”, with a dedication to Ferdinand Ebner) is held in CH-Bps, Hildegard Jone Collection (TM 26). See also Barbara Schingnitz, [“Einleitung”], in: Briefwechsel Webern und Webern – Jone und Humplik (note 110), pp. LXVII ff. 115 | Webern to Jone, 17 January 1930 (A-Wn, HS 431/1–35). 116 | Ibid.: “The fact that you’re repeatedly thinking about writing me a ‘libretto’ makes me very happy.” 117 | Webern to Jone, 8 September 1930 (A-Wn, HS 431/1–48). 118 | Ibid.: “Now I am very occupied with the idea of writing a cantata. My request is this: might you want to write such a text for me? Who else could it be, but you, dear Mrs Jone! This idea won’t let go of me, and so I had to say it.” The “idea of writing a cantata” was perhaps also motivated by the fact that Webern was at this time rehearsing Johann Sebastian Bach’s Actus tragicus. See Regina Busch, “Webern, Bach und Kantaten”, in: webern_21, ed. Dominik Schweiger and Nikolaus Urbanek, Vienna: Böhlau, 2009 (Wiener Veröffentlichungen zur Musikgeschichte 8), pp. 221–244. 119 | See the editor’s occasional references in her commentary to Briefwechsel Webern und Webern – Jone und Humplik (note 110). Regarding the difficulties in identifying individual poems and their different versions (as well as the resulting inaccuracies in much of the relevant research literature), see ibid. (“Exkurs: Problematik der Quellenlage in Jones Nachlass”), p. XXI: “[I]n most cases, the copies of poems and poem collections that were sent to Webern cannot be identified unambiguously, inasmuch as their existence may be deduced from their correspondence. This is because, with a few exceptions, [...] Webern’s archives no longer hold any autograph poems by Jone that are not connected to the context of their composition. Their correspondence also makes it clear that Webern regularly received copies of texts by Jone, and that he returned them after some time (often copying out passages from them for himself); nor can these copies be found, neither in Webern’s archives nor in Jone’s archives.” Webern himself subsequently made a manuscript copy of all the poems by Jone that he had set to music (US-Wc, Moldenhauer Archives 59/2) in preparation for an “Evening of Contemporary Poetry” that he began planning in the early summer of 1944, to be held on 29 November of that year. See Webern to Jone, 30 April 1944 (A-Wn, HS 431/1–285): “I have already copied the poems I have composed, as you wished [...] and I shall bring the booklet with me […].” 120 | Hildegard Jone, Viae inviae, in: Der Brenner 13 (1932), pp. 60–74, here pp. 64 (“Das dunkle Herz”) and 65 (“Du stürzt aus Höhen” and “Herr Jesus mein”): Jone_Vi. See Webern to Jone, 3 November 1932 (A-Wn, HS 431/1–85): “I am very much looking forward to your poems in ‘Brenner’.” 121 | For information both on the organization of this Brenner edition as a memorial volume for Ferdinand Ebner, who had often written for the journal, and on the connection between Jone’s poetry and Ebner’s philosophy, see Reinecke, Hildegard Jone (note 114), pp. 175–187. 122 | See Ferdinand Ebner, Notizen Tagebücher Lebenserinnerungen, ed. Franz Seyr, Munich: Kösel, 1963 (Ferdinand Ebner Schriften 2), p. 1033: “Dr Webern in the studio [i. e. in the studio of Humplik and Jone] – at the request of Mrs Jone.” 123 | See Schingnitz, [“Einleitung”] (note 110), pp. LI f. 124 | After an untitled, introductory poem, Section II comprises contains four sections, each numbered with an Arabic numeral, all of which present self-contained, individual poems: 1. “Das Augenlicht” (later the text for Webern’s Op. 26), 2. “Christophorus”, 3. “Der Berg” and 4. “Zwischen Tag und Nacht”. The 3rd and 4th sections are each followed by groups of verses separated by asterisks. It is not clear whether these verse groups comprise a continuation in each case of the texts given under the aforementioned two titles, or whether they constitute independent poems. 125 | Regarding his protracted work on the first movement of Op. 24, see Kathryn Bailey, “Symmetry as Nemesis: Webern and the First Movement of the Concerto, Opus 24”, in: Journal of Music Theory 40/2 (Autumn 1996), pp. 245–310. 126 | Webern to Jone, 3 March 1933 (A-Wn, HS 431/1–89). 127 | See Lauriejean Reinhardt, “Webern’s Literary Encounter with Hildegard Jone”, in: Mitteilungen der Paul Sacher Stiftung 5 (January 1992), pp. 36–40. Ibid., p. 37 contains a facsimile of a Jone manuscript entitled Die Freude, which contains most of the lines that Webern set to music in his Op. 23. However, it is unlikely that this manuscript dates from before 1933, or that Webern had it in front of him. 128 | See Reinecke, Hildegard Jone (note 114), pp. 297 f. 129 | Arbeiter-Symphonie-Konzert: Ernst Krenek, Kleine Blasmusik, Op. 70A; Paul A. Pisk, Kantate Campanella, Op. 28; Hanns Eisler, Das Lied vom Kampf. 130 | See Webern, Wege zur neuen Musik (note 89), pp. 9–44. His lecture series began on 20 February and ended on 10 April. He gave a total of eight lectures, which as a rule took place on Monday evenings, though on two occasions he gave them on a Tuesday (on 7 and 14 March). 131 | See Moldenhauer, Anton von Webern (note 18), p. 397, and Radio Wien, 19 May 1933, p. 42. 132 | See Moldenhauer, Anton von Webern (note 18), p. 398, and Radio Wien, 14 July 1933, p. 52. 133 | Webern to Jone, 29 July 1933 (A-Wn, HS 431/1–99). The beginning of the first sketch for “Es stürzt aus Höhen” M 313 is indeed dated “26. VII. 33”, thus 12 days after the final date on the continuity draft of “Herr Jesu mein” M 312, not eight days as Webern claims. 134 | Ibid.: “So from 4 (roughly) to 10 [August] we’re not here.” See also Moldenhauer, Anton von Webern (note 18), pp. 398 f., where the dates of Webern’s stay in the Tyrol are given as “6–12 August”. 135 | Webern to Jone, 3 September 1933 (A-Wn, HS 431/1–101). 136 | Webern to Jone, 24 September 1933 (A-Wn, HS 431/1–104). We do not know of any reaction on Jone’s part to these two songs. 137 | Webern to Jone, 6 January 1934 (A-Wn, HS 431/1–116). 138 | See Moldenhauer, Anton von Webern (note 18), p. 407, and Radio Wien, 26 January 1934, p. 16. 139 | Webern to Jone, 14 February 1934 (A-Wn, HS 431/1–119). 140 | Webern to Humplik, 20 February 1934 (A-Wn, HS 431/1–120): “I’m working again: ‘was wird legt sich mit zarten Wurzeln an das Wartende im Dunkel…’ [‘what is becoming lies with its tender roots against what waits in the darkness’] The more terrible it becomes, the greater the responsibility that our tasks assume.” The continuity draft M 314 Sk3 articulates these thoughts in several variants: mm. {12A, 12B, 13A–15A, 12C}, mm. {12D, 13B–15B, 16A–17A}, mm. {23A–24A}, {13C–15C} and mm. {13D–15D}. See also M 314 Sk3.2. 141 | Webern to Jone, 4/5 March 1934 (A-Wn, HS 431/1–121). See M 314 Sk3 mm. 22B–24B, {25B–27B}. 142 | Webern to Jone, 11 March 1934 (A-Wn, HS 431/1–122): “‘Wir sind nicht unser, ich und du u. Alle’. I have just finished sketching the melody. So you see, soon the song will have been composed to the end.” Webern presumably refers here to M 314 Sk3.4. 143 | Webern to Jone, 20 March 1934 (A-Wn, HS 431/1–123). See also the commentary of the editor in Briefwechsel Webern und Webern – Jone und Humplik (note 110): “It cannot be determined whether or not Webern ultimately [...] sent a fair copy of the Three Songs, Op. 23, to Jone at all, or perhaps handed such a copy over in person; their correspondence offers no hint of this. Jone and Humplik received a copy of the printed work after its publication by Universal Edition […].” 144 | Webern to Berg, 27 March 1934 (cited as in Briefwechsel Anton Webern – Alban Berg [note 31]). 145 | See Universal Edition (Hugo Winter) to Webern, 11 July 1934 (Webern, Briefwechsel mit der Universal-Edition [note 22], p. 188). The publishing contract is dated 12 July (see the commentary of the editor, ibid., plus Appendix, pp. 344 f.). 146 | Webern to Universal Edition (Yella Hertzka), 12 July 1934 (Webern, Briefwechsel mit der Universal-Edition [note 22], p. 189). 147 | Universal Edition (Erwin Stein) to Webern, 29 August 1934 (Webern, Briefwechsel mit der Universal-Edition [note 22], p. 196). 148 | See Webern, Briefwechsel mit der Universal-Edition (note 22), Appendix, pp. 344 f. 149 | See Webern to Josef Humplik, 8 May 1935 (note 109). 150 | Reich to Webern, 30 August 1943 (CH-END [carbon copy]): “Your ‘sixtieth’, to which you so discreetly refer, was something of which I was naturally already aware, and I have already made all kinds of plans to celebrate the day. [...] A performance of chamber music in Basel (the entire concert exclusively featuring works by Webern) has already been secured for December, within the framework of the ISCM.” 151 | Regarding this concert and its complete programme, which included the Five Songs, Op. 3, also with the performers mentioned here, see Moldenhauer, Anton von Webern (note 18), pp. 553 f. 152 | Bg., in: National-Zeitung, 7 December 1943 (morning edition), p. 4. See also the commentary of the editor in Briefwechsel Webern und Webern – Jone und Humplik (note 110) on Webern’s letter to Jone of 4 December 1943. 153 | ay, “Anton Webern in der I. G. N. M.”, in: Basler Nachrichten, 7 December 1943 (2nd supplement). See also the commentary of the editor in Briefwechsel Webern und Webern – Jone und Humplik (note 110) regarding Webern’s letter to Jone of 4 December 1943. 154 | See e. g. Webern to Jone, 22 April 1944 (A-Wn, HS 431/1–284): “It would of course be best to find a singer who might be able to sing some of the six songs with piano accompaniment to your texts.” 155 | Webern to Jone, 10 August 1944 (A-Wn, HS 431/1–292): “I have been notified that the Swedish singer I mentioned previously has agreed and already studied [the songs].” The Three Songs after Poems of Hildegard Jone, Op. 25, which Webern composed in the course of 1934, mark a continuation of his compositional interest in her poetry that had begun the year before with his Three Songs from Viae inviae, Op. 23. However, Webern’s professional situation changed drastically on account of the political consequences of the battles that took place from 12 to 15 February 1934 in Vienna and other big Austrian cities between the paramilitary Republikanischer Schutzbund of the Social Democratic Party and the army and police authorities of the Dollfuß regime. The latter now banned the Social Democratic Party, which meant that Webern lost his job as conductor with the Vienna Workers’ Symphony Concerts and as the artistic director of the Social Democratic Choral Society (the “Singverein der Sozialdemokratischen Kunststelle”). This in turn meant that the number of his radio engagements dwindled. In a letter to Arnold Schoenberg, who had emigrated to the United States in 1933, Webern described his situation in comparatively drastic terms: It’s becoming increasingly difficult for me here. I am very aware of what’s been taken from me by the events in question, and which will hardly be able to be restored. – And apart from material things, it’s as if their cannon had shot to pieces – no, their cannon really have shot to pieces – what I had built up so painstakingly over 10 years.156 All the same, his increasing isolation did have one specific consequence: “I’ve at least now got some time for my work […]”157 After completing his Three Songs, Op. 23 in March 1934, Webern continued working on his Concerto for Flute, Oboe, Clarinet, Horn, Trumpet, Trombone, Violin, Viola and Piano, Op. 24, and in parallel with this he also began composing a song to a text from Jone’s collection entitled Die Freude (“Joy”), which comprises 29 (unnumbered) poems in total, in July of the same year. Jone had published her cycle in the autumn of 1933 in the Catholic bimonthly magazine Die Schildgenossen. It is subdivided into the following: – 5 “Spring” (“Frühling”) poems (from which Webern set “Wie bin ich froh!” M 317 [Op. 25/1]), – 8 “Star” (“Stern”) poems (from which Webern set “Sterne, ihr silbernen Biene” M 321 [Op. 25/3]) and – 16 “Death” (“Tod”) poems (from which Webern set “Des Herzens Purpurvogel” M 322 [Op. 25/2]).158 It is impossible to determine whether Webern might have received a manuscript from Jone of the three poems he chose to set, either before or after she published them. In any case, we do know that the relevant issue of Die Schildgenossen was still unknown to Webern at the close of November 1933.159 In early January 1934, when Webern had only just begun his continuity draft of M 314 (Op. 23/1), he announced that his next project might involve setting “several ‘Star’ poems”, i. e. poems from the eight “Star” poems in the collection Die Freude.160 In fact, after having completed the continuity draft for M 314 (on 15 March 1934) and the first movement of his Concerto, Op. 24 (on 25 June 1934), Webern did not set any of the “Star” poems, but instead chose the first of the “Spring” group, which is also the very first poem in the whole collection: “Wie bin ich froh!” M 317. (Webern’s sketches for the first movement of his Concerto, Op. 24 reveal that he had also considered interrupting his work to set the poem “Wie kann der Tod so nah der Liebe wohnen?” [M 315] for chorus [on 11 May 1934], though he rejected this idea). According to the dates in his sketches, Webern began composing “Wie bin ich froh!” on 4 July 1934. A few days later, he wrote to Jone and Josef Humplik to tell them about it: Did I tell you already that my first movement [i. e. of Op. 24] is finished? Right now, for reasons that I’ll tell you later, I have interrupted it to write something else: a setting of a brief poem by you, dearest friend [“Freundin”, i. e. Jone]: “Wie bin ich froh! Noch einmal wird mir Alles grün….” [“How happy I am! Once again, everything is turning green for me…”]161 Webern’s “reasons” for writing a song, instead of continuing with the next movements of his Concerto, Op. 24, were probably linked to his wanting to complete a work in time for David Josef Bach’s 60th birthday on 13 August of that year. Bach was a childhood friend of Schoenberg’s who had initiated the Workers’ Symphony Concerts in Vienna in the 1910s. He had also been the director of the Social Democratic Party’s arts office since 1919, and from 1922 onwards had engaged Webern repeatedly to conduct its concerts. Most importantly, he had appointed Webern as the chief conductor of the Singverein in late 1923 and had thereby made a significant contribution to establishing his reputation as a conductor. When the Social Democratic Party was banned after the events of February 1934, this put Bach himself in a precarious situation – a fact to which Webern drew attention in his letters to Schoenberg and others. He also mentioned Bach’s upcoming birthday and the song that he intended to dedicate to him: For Dr Bach’s 60th birthday – on 13 August of this year – the following is being prepared: an address with signatures and a collection of money. His financial situation is still highly onerous […]. I’m going to dedicate a song to him […].162 Webern had finished his continuity draft of 15 measures, M 317 Sk4, in A (Sketchbook 3) a few days before, on 16 July, and thereupon wrote to Jone: “The new song is ready. –”163 There was for the moment no mention of his including it in any collection of songs he might be planning.164 After this continuity draft, the same sketchbook contains sketches for the second movement (M 319) of his Concerto, Op. 24, dated “21 VII[.]” Webern wrote the fair copy of his new song in E either just before making these sketches, or in parallel with them, though its initial layer presumably did not correspond to the later version that lasts 12 measures. Webern made a presentation copy of version 1 of this song (B) as his birthday gift for Bach. This was probably copied just before Webern left for a mountain hike in the Ötztal Alps on 11 August. Bach was spending the summer in Henndorf just outside Salzburg, and Webern stopped off there on his journey to the mountains in order to deliver his gift in person.165 Webern initially revised the autograph of M 317 contained in E (as Op. 25/1) to bring it in line with version 1 as found in B, though he later changed it again – presumably only when he made the fair copies of M 321 (Op. 25/3) and M 322 (Op. 25/2) – which resulted in version 2 of the song that he incorporated into Op. 25 that ultimately comprised three songs. A few days after having completed the continuity draft for the third movement (M 320) of his Concerto, Op. 24 on 4 September, Webern reported to Humplik and Jone about his plan for a “song opus” that would also contain “Wie bin ich froh!”, M 317: “I have just finished my instrumental opus and I now want to continue with the song opus that I have already begun – [for which] ‘Wie bin ich froh’ has long been finished.”166 An initial sketch for “Sterne, ihr silbernen Bienen” M 321 in D (Sketchbook 4) can be found among the sketches for the third movement of his Concerto, Op. 24, and was probably already made in late August 1934 (M 321 Sk1). According to the dates in Webern’s own hand, he began making further sketches on 19 September (M 321 Sk2). In early October, he was able to report to Jone on his progress, though the precise number of songs for his “new song book” remained open. He even hinted at the possible inclusion of new songs that were not in her poetry collection Die Freude: Dear, dear friend, Many heartfelt thanks for the beautiful songs! “How happy I am” to have them [i. e. an allusion to the title of M 317, “Wie bin ich froh”]. I am sure that one or the other of them will be included in the new songbook. Now I am working on “Sterne, Ihr silbernen Bienen...” and have already made much progress.167 Webern completed his continuity draft on 8 October and dated it thus (M 321 Sk3 mm. 21B–26B). He wrote to Jone on 17 October to report on its completion, and also on his having begun work on “Des Herzens Purpurvogel” M 322.168 He dated the beginning of an initial continuity draft “24. X[.] 34”, though he later broke off work on it (M 322 Sk3 mm. {1A}, {1B}, {1C-2A}, 1D–2B). He had presumably begun the preceding sketches (M 322 Sk1 and M 322 Sk2) before writing to Jone on 17 October; he might also have begun M 322 Sk3 measures {1A}, {1B}, {1C–2A} before that date. Webern seems to have been working on the final continuity draft in early November,169 which was completed on 15 November according to the date in the sketchbook (M 322 Sk4 m. 21C). We have no documentary proof of when Webern made the fair copies of his two new songs, nor when he decided to reverse the order of the second and third songs when concluding this new opus (which was contrary both to their order in Die Freude and to the order in which he had composed them). Webern no longer mentions this project in his letters from December 1934 onwards. Instead, he seems to have been especially preoccupied with his arrangement of the Fuga (Ricercata) a 6 voci from Bach’s Musical Offering (M 323). He probably completed his fair copy of the complete collection of songs that he now numbered Op. 25 (E) by the end of 1934 at the latest. In mid-October 1938, Webern wrote to Erwin Stein, a former student of Schoenberg’s who had worked for Universal Edition, had recently emigrated to London, and had now taken up a job as an editor for Boosey & Hawkes. He mentioned his “Three Songs with Piano, Op. 25, on poems of H. Jone” as being “a book of songs not yet printed nor yet accepted by any publisher”.170 We do not know if Webern had already offered them to Universal Edition. It was not until Webern’s 60th birthday in 1943 – presumably in connection with a possible performance (see below) – that Universal held out to Webern the prospect of publishing these songs, though nothing came of it during Webern’s lifetime.171 This opus was only published by Universal Edition in 1956, long after Webern’s death. The world premiere of these Three Songs, Op. 25, together with that of the Three Songs, Op. 23, was planned for a concert of the Basel section of the ISCM, held on 5 December 1943, with Marguerite Gradmann-Lüscher accompanied by Paul Baumgartner. In order to facilitate this performance, Universal Edition apparently made two photographic copies of Webern’s autograph (since lost) and presumably sent them to Erich Schmid.172 But the Three Songs, Op. 25 were not performed on that occasion. When readings of Jone’s poetry were being organized at an “Evening of contemporary poetry” to be held at the Archbishop’s Palace in Vienna on 29 November 1944, Jone and Webern for some time harboured the plan of including a performance of both the Three Songs, Op. 23 and the Three Songs, Op. 25.173 They were to have been performed by an unnamed “Swedish singer” accompanied by Webern’s student Fré Focke, who also began rehearsing the works together.174 Ultimately, however, this performance never took place. The world premiere was only given posthumously, on 16 March 1952 in New York, with Bethany Beardslee accompanied by Jacques Monod at the piano.175 156 | Webern to Schoenberg, 21 March 1934 (US-Wc [cited as in the digitized copy in A-Was: ID 18155]). 158 | Hildegard Jone, Die Freude, in: Die Schildgenossen 13/1 (September/October 1933), pp. 16–26, here pp. 16 (“Wie bin ich froh!”), 18 (“Sterne, Ihr silbernen Bienen der Nacht”) and 24 (“Des Herzens Purpurvogel”): Jone_DF. We must not confuse this cycle Die Freude with Jone’s individual poem with the same title, which she had included (without explicitly providing a title) in her cycle Viae inviae, which she had published back in 1932, and which had provided the text for Webern’s Three Songs, Op. 23. 159 | See Webern to Jone, 21 November 1933 (A-Wn, HS 431/1–112): “And how I’m looking forward to your poems in the ‘Schildgenossen[’]!” 160 | See Webern to Jone, 6 January 1934 (A-Wn, HS 431/1–116): “I would only like to give you the song manuscript [of Op. 23] once it is complete (with the 3rd song). Several ‘Stern’ poems are probably going to be next!”, i. e. poems from the eight “Star” poems in the collection Die Freude. 161 | Webern to Humplik and Jone, 9 July 1934 (A-Wn, HS 431/1–131). 162 | Webern to Schoenberg, 18 July 1934 (US-Wc [cited as in the digitized copy in A-Was: ID 22352]). 163 | Webern to Jone, 18 July 1934 (A-Wn, HS 431/1–132). In this same letter, which also mentions Bach’s forthcoming birthday, Webern makes a remark that indicates he had meanwhile told Jone the “reasons” for composing this song. (“You know what I owe to him”). 164 | This song is also mentioned on its own on a postcard of 8 August (A-Wn, HS 431/1–134): “I hope to be able to show you and Pepo [i. e. Humplik] everything soon after my return! and I am already looking forward to it a lot. The song ‘Wie bin ich froh’[.]” 165 | See Moldenhauer, Anton von Webern (note 18), p. 418, though he erroneously writes that Webern had dedicated a fair copy of the Two Songs, Op. 19, to Bach and had given it to him on this occasion (Moldenhauer presumably did not have B available for consultation). Webern had already dedicated the Two Songs, Op. 19, to Bach in 1928 when the work was published. 166 | Webern to Humplik and Jone, 12 September 1934 (A-Wn, HS 431/1–137). 167 | Webern to Jone, 1 October 1934 (A-Wn, HS 431/1–138). We do not know to which “songs” by Jone Webern is here referring. 168 | Webern to Jone, 17 October 1934 (A-Wn, HS 431/1–139): “‘Sterne, Ihr silbernen Bienen’ is finished. Now I am busy with [‘]Des Herzens Purpurvogel fliegt durch Nacht’[.]” 169 | Webern to Jone, 9 November 1934 (A-Wn HS 431/1–140): “‘Des Herzens Purpurvogel’ will soon be finished. I was just held up a little recently.” 170 | Webern to Boosey & Hawkes (Erwin Stein), 17 October 1938 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], pp. 223 f.). This contact with Boosey & Hawkes resulted in the publication of Webern’s String Quartet, Op. 28. See also in this regard Regina Busch, “Weberns Streichquartett Op. 28 und das Schriftbild seiner Partituren”, in: Webern-Philologien, ed. Thomas Ahrend and Matthias Schmidt, Vienna: Lafite, 2016 (Webern-Studien 3), pp. 41–76. 171 | See Universal Edition (Alfred Schlee) to Webern, 1 December 1943 (cited as in Webern, Briefwechsel mit der Universal-Edition [note 22], p. 284): “It’s also not correct if I inform you that the songs are now going to the engraver’s as a kind of birthday present, because it would naturally have been the proper thing to publish them even regardless of your 60th birthday.” See the editor’s commentary in ibid.: “There is no documentary evidence that the Three Songs, Op. 25 were indeed sent ‘to the engraver’s’ after this letter, nor that any contract was concluded.” 172 | See Webern to Erich Schmid, 9 November 1943 (cited as in Erich Schmid, Lebenserinnerungen, vol. 2: Letters, ed. Lukas Näf, Bern: Peter Lang, 2014, p. 812): “With regard to the photocopy of my songs Op. 25 [...] I hope that 2 copies of them are now finally in your hands. Despite my having repeatedly pursued the matter, their publication has been very much delayed (due to current circumstances).” Schmid had accompanied Gradmann-Lüscher in a performance of Webern’s Five Songs on Poems of Stefan George, Op. 4, and of his Four Songs, Op. 12, when Webern had visited Basel in 1940. However, Schmid’s military service prevented him from participating in the concert planned for December 1943. These two copies of the songs ([EF1–F2]), today no longer extant, were presumably sent to Gradmann-Lüscher and Paul Baumgartner before their planned performance, though it seems that they had insufficient time to rehearse them adequately. 173 | See, e. g., Webern to Jone, 22 April 1944 (A-Wn, HS 431/1–284): “The best solution would be to find a woman singer [“Sängerin”] who could sing some of the six songs with piano accompaniment that are settings of your texts.” 174 | Webern to Jone, 10 August 1944 (A-Wn, HS 431/1–292): “I have been notified that the Swedish singer I mentioned previously has agreed and already studied [the songs].” 175 | Moldenhauer, Anton von Webern (note 18), pp. 716 f. The songs with piano accompaniment that are collected in this volume are published in different formats depending on the situation in which their respective texts have been transmitted to us. The published song collections are here presented as “work editions” (Werkeditionen). The versions that are extant solely as fair copies in ink, or which – as in the case of the songs to texts by Stefan George – are grouped together in clusters in this edition because the common circumstances of their composition imply that they belong together, are presented here as “text editions” (Texteditionen). The Three Songs, Op. 25 constitute an exception to this rule, for they were not published during Webern’s lifetime. The autograph fair copy of the complete Op. 25 nevertheless offers all the characteristics of an engraver’s copy of a work intended for publication. For this reason, presenting this opus as a work edition here is both the obvious choice and unproblematic from the view of producing a critical edition of the musical text. Extant pencil sketches will be presented as “sketch editions” (Skizzeneditionen) in the online edition of the AWG. Webern’s songs to texts by Stefan George are edited here as a coherent cluster. The final form in which Webern left them to us – the two collections published as his Opp. 3 and 4 – was preceded by a common compositional history that featured several individually distinguishable versions of their musical text, plus four songs that were not included in the final publications. The different versions of the musical text that can be identified in the correction layers of the surviving ink manuscripts and that predate the final publications (which are here given as work editions) are presented here as text editions in view of the material used to notate them. These include some of the earliest versions of the musical texts, which at times come across as sketch-like. (In these cases, a sketch edition would provide less information on the writing process than is usually the case with Webern’s pencil sketches, because those layers that predate the correction process have often been subjected to erasure and can rarely be deciphered with any certainty; they are generally impossible to decipher at all). In the case of the various collections of George songs in particular that Webern conceived between 1909 and 1919, it is not always possible to reconstruct unambiguously which versions of which songs were intended in what order, so the different versions that are nevertheless decipherable in the sources are presented in chronological order in the printed edition here, while the songs themselves are presented in alphabetical order according to their respective title. As a rule, Webern’s numerous versions of his George songs adopted the poet’s spellings (especially his frequent lack of capitalization for nouns) and the occasionally sparse punctuation of his original poems. These idiosyncrasies have been retained in our text editions here. Any additions or corrections made here to the song texts are similarly oriented on George’s original poems, and are listed in the Critical Notes (Textkritische Anmerkungen). Any cases of divergence from the original poem are denoted by “sic” in the Critical Notes. In comparison to the George songs, there are comparatively few early versions of the individual songs that make up the Four Songs, Op. 12, and the Three Songs, Op. 25, but they have been dealt with in similar fashion here with regard to the order of their respective text editions. Even though the idiosyncrasies of the respective source texts for these editions are not as characteristic as in the case of George’s poems, we have applied the same principles to our editorial treatment of the vocal text. As editor, I should like to thank the numerous people and institutions who have supported me in many ways during my work. My thanks above all go to the staff of the archives and libraries who have made digital reproductions of their sources available to us, or granted us access to the originals: The Arnold Schönberg Center in Vienna, the Music Division of the Library of Congress in Washington D.C., the Morgan Library & Museum in New York City, the Music Collection of the Austrian National Library in Vienna, the Music Collection of the Wienbibliothek im Rathaus in Vienna, and the Historical Archive of Universal Edition, also in Vienna. Special thanks go to the Paul Sacher Foundation in Basel, which holds most of the extant Webern sources, in particular to Sabine Hänggi-Stampfli, Felix Meyer, Simon Obert and Andrietta Wahl for always being ready to help and for providing expert advice. I should also like to thank all the current members of the AWG project team for their collegiality and for their fruitful spirit of collaboration, namely Michael Matter, Stefan Münnich, Simon Obert, Barbara Schingnitz and Matthias Schmidt, plus our former colleagues Julia Bungardt, Monika Kröpfl, Nikolaus Urbanek and Manuel Strauß, and our interns Tamara Ackermann, Yuta Asai, Daia Aschwanden, Madita Knöpfle and Youchen Yu. Rita Gautschy (Swiss National Data and Service Center for the Humanities), Lukas Rosenthaler and Tobias Schweizer (Digital Humanities Lab of the University of Basel) offered advice and assistance in designing and setting up the online edition, as did numerous colleagues from the abovementioned institutions. Heinz Stolba of Universal Edition in Vienna deserves my thanks for his commitment and cooperation. Finally, I should like to express my sincere gratitude to Simone Hohmaier (Staatliches Institut für Musikforschung, Berlin), Juliane Brand (Karl Weigl Foundation, San Rafael CA), Regina Busch (Vienna), Felix Wörner (Basel) and Michelle Ziegler (Basel) for suggestions, feedback and advice of all kinds. Basel, 14 May 2024 Thomas Ahrend Translation: Chris Walton AWG prototype is… AWG-APP is…
",
+
+ "„Dies ist ein Lied“ M 133 (Textfassung 1 in A, Textfassung 2 in B) „Erwachen aus dem tiefsten Traumesschoße“ M 143 (einzige Textfassung in A) „Im Windesweben“ M 134 (Textfassung 1 in A) Kunfttag I M 144 (einzige Textfassung in A)
",
+
+ "„An Bachesranft“ M 135 (Textfassung 1 in E) „Das lockere Saatgefilde“ M 146 (einzige Textfassung in A) Eingang M 138 (Textfassung 1 in A) „Im Morgentaun“ M 136 (Textfassung 1 in D [Fragment], E und G) „Ja Heil und Dank dir“ M 140 (Textfassung 1 in B) „Kahl reckt der Baum“ M 137 (Textfassung 1 in E) „Noch zwingt mich Treue“ M 139 (Textfassung 1 in B) „So ich traurig bin“ M 141 (Textfassung 1 in B) Trauer I M 145 (einzige Textfassung in A – vor dem 25. Mai 1909)
",
+
+ "Aus dem siebenten Ring Eingang M 138 (Textfassung 1) „Dies ist ein Lied“ M 133 (Textfassung 2) „Im Windesweben“ M 134 (Textfassung 2) „Kahl reckt der Baum“ M 137 (Textfassung 1) Aus dem Jahr der Seele „Noch zwingt mich Treue“ M 139 (Textfassung 1) „Ihr tratet zu dem Herde“ M 142 (unbekannte Textfassung)
",
+
+ "Eingang M 138: A (Textfassung 1) „Dies ist ein Lied“ M 133: C (Textfassung 2) „Im Windesweben“ M 134: E (Textfassung 2) „Kahl reckt der Baum“ M 137: E (Textfassung 1) „Noch zwingt mich Treue“ M 139: B (Textfassung 1) „Ihr tratet zu dem Herde“ M 142: [C] (unbekannte Textfassung)
",
+
+ "Sieben Lieder nach Gedichten von Stefan George op. 2 [b] 1. Eingang. („VII. Ring“) [b + r] 2. „Dies ist ein Lied...“ („VII. Ring“) 3. „Erwachen aus dem tiefsten traumesschoße....“ | („Jahr der Seele“) [b + r] 4. „Im windes-weben.....“ („VII. Ring“) 5. Kunfttag 1. – [b + r] 6. „Kahl reckt der baum..“ – [b] 7. [„]Im morgentaun....“ – Anton von Webern Sieben Lieder op. 4 nach Gedichten von Stefan George 1. Trauer I („Maximin“)aus dem „VII. Ring“ 2. „Ja heil und dank dir....“ („Nach der Lese“) aus „Jahr der Seele“ [b + r] 3. „Noch zwingt mich treue....“ („Waller im Schnee“) aus „Jahr der Seele“ [b] 4. „An bachesranft....“ („Lieder I–IV [sic]“ aus dem VII. Ring“) 5 „Das lockere saatgefilde....“(„Gezeiten“) aus dem „VII. Ring“ 6 „So ich traurig bin.....“(„Sänge eines fahrenden Spielmanns“ aus „Die Bücher der Hirten- und Preisgedichte, der Sagen u. Sänge u[.] d. hängenden | Gärten“ [r] 7 [b] „Ihr tratet zu dem herde....“ („Traurige Tänze“) aus „Jahr der Seele“ gestern gefragt haben wie mir Ihre Lieder gefallen haben: ich konnte nicht recht sagen d. h. zum Ausdruck bringen, welchen Eindruck sie auf mich gemacht haben. Es war sehr blöd, wie ich das gesagt habe. Aber möchten Sie mir glauben, dass Ihr Werk und namentlich diese neuen Lieder mein einziges wunderbares Vorbild sind.“
Vgl. auch Webern an Königer, 20. Februar 1912 (A-Wn, HS 975/7–10). Die Reihenfolge der in diesen Briefen genannten Kompositionen ergibt eine Opuszahlenfolge von Passacaglia (op. 1), „9 Lieder“ (op. 2), Streichquartett (op. 3) und Orchesterstücke (op. 4).
",
+
+ "“Dies ist ein Lied” M 133 (version 1 in A, version 2 in B) “Erwachen aus dem tiefsten Traumesschoße” M 143 (sole extant version in A) “Im Windesweben” M 134 (version 1 in A) Kunfttag I M 144 (sole version in A)
",
+
+ "“An Bachesranft” M 135 (version 1 in E) “Das lockere Saatgefilde” M 146 (sole extant version in A) Eingang M 138 (version 1 in A) “Im Morgentaun” M 136 (version 1 in D [fragment], E and G) “Ja Heil und Dank dir” M 140 (version 1 in B) “Kahl reckt der Baum” M 137 (version 1 in E) “Noch zwingt mich Treue” M 139 (version 1 in B) “So ich traurig bin” M 141 (version 1 in B) Trauer I M 145 (sole extant version in A – before 25 May 1909)
",
+
+ "From Der siebente Ring Eingang M 138 (version 1) “Dies ist ein Lied” M 133 (version 2) “Im Windesweben” M 134 (version 2) “Kahl reckt der Baum” M 137 (version 1) From Das Jahr der Seele “Noch zwingt mich Treue” M 139 (version 1) “Ihr tratet zu dem Herde” M 142 (unknown version)
",
+
+ "Eingang M 138: A (version 1) “Dies ist ein Lied” M 133: C (version 2) “Im Windesweben” M 134: E (version 2) “Kahl reckt der Baum” M 137: E (version 1) “Noch zwingt mich Treue” M 139: B (version 1) “Ihr tratet zu dem Herde” M 142: [C] (unknown version)
",
+
+ "Sieben Lieder nach Gedichten von Stefan George op. 2 [p] 1. Eingang. („VII. Ring“) [p + r] 2. „Dies ist ein Lied...“ („VII. Ring“) 3. „Erwachen aus dem tiefsten traumesschoße....“ | („Jahr der Seele“) [p + r] 4. „Im windes-weben.....“ („VII. Ring“) 5. Kunfttag 1. – [p + r] 6. „Kahl reckt der baum..“ – [p] 7. [„]Im morgentaun....“ – Anton von Webern Sieben Lieder op. 4 nach Gedichten von Stefan George 1. Trauer I („Maximin“)aus dem „VII. Ring“ 2. „Ja heil und dank dir....“ („Nach der Lese“) aus „Jahr der Seele“ [p + r] 3. „Noch zwingt mich treue....“ („Waller im Schnee“) aus „Jahr der Seele“ [p] 4. „An bachesranft....“ („Lieder I–IV [sic]“ aus dem VII. Ring“) 5 „Das lockere saatgefilde....“(„Gezeiten“) aus dem „VII. Ring“ 6 „So ich traurig bin.....“(„Sänge eines fahrenden Spielmanns“ aus „Die Bücher der Hirten- und Preisgedichte, der Sagen u. Sänge u[.] d. hängenden | Gärten“ [r] 7&ngsp;[p]&ngsp;„Ihr tratet zu dem herde....“ („Traurige Tänze“) aus „Jahr der Seele“ yesterday how I liked your songs: I couldn’t quite say, i. e. express the impression that they made on me. It was very stupid the way I said it. But please believe me that your work and especially these new songs are my only, wonderful role models.”
See also Webern to Königer, 20 February 1912 (A-Wn, HS 975/7–10). The sequence of the compositions mentioned in these letters provides us with the following series of opus numbers: Passacaglia (Op. 1), “9 Songs” (Op. 2), String Quartet (Op. 3) and Pieces for Orchestra (Op. 4).
bis 12",
+ "system": "",
+ "position": "",
+ "comment": "sehr langsam in T. 11 3/4 gestrichen und geändert zu rit. (T. 11), molto (T. 12) und Geltungsstrichelung mit blauer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "({{ref.getGlyph('[b]')}}) zu es1/as1 gestrichen mit blauer Tinte.
zögernd gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Crescendogabel geändert zu Decrescendogabel mit Bleistift."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "({{ref.getGlyph('[a]')}}) zu F/e gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "I. Zeitmaß geändert zu tempo mit blauer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Rasur über dem System."
+ },
+ {
+ "measure": "14",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Crescendogabel gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Triolenklammer hinzugefügt mit Bleistift (Hs.?)"
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "Auf Rasur.
({{ref.getGlyph('[a]')}}) zu e/a gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "14
bis 15",
+ "system": "Ges.",
+ "position": "4. Note
2/8",
+ "comment": "Crescendogabel ergänzt mit blauer Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav. o.",
+ "position": "(2/4)",
+ "comment": "Triolenklammer hinzugefügt mit Bleistift (Hs.?)"
+ },
+ {
+ "measure": "15",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "15",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. o.",
+ "position": "3/4",
+ "comment": "Unterstimmenschicht: fis1 geändert zu ges1."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. u.",
+ "position": "3/4",
+ "comment": "cis geändert zu des."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Crescendogabel gestrichen mit Bleistift."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Unterstimmenschicht: des1/ges1 überschreibt cis1/fis1; Pfeil zu Notennamen ges | des am rechten Seitenrand. "
+ },
+ {
+ "measure": "20",
+ "system": "Klav. o.",
+ "position": "(2/4)",
+ "comment": "Decrescendogabel gestrichen mit blauer Tinte."
+ },
+ {
+ "measure": "21",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[p]')}} geändert zu {{ref.getGlyph('[pp]')}} mit blauer Tinte."
+ },
+ {
+ "measure": "21
bis 22",
+ "system": "Klav. o.",
+ "position": "1. Note
2/4",
+ "comment": "Legatobogen ergänzt mit Bleistift."
+ },
+ {
+ "measure": "22",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "({{ref.getGlyph('[b]')}}) zu es1 und ({{ref.getGlyph('[a]')}}) zu c2 (nach Akkoladenwechsel) gestrichen mit Bleistift (Hs. ?)."
+ },
+ {
+ "measure": "22",
+ "system": "Klav. o.",
+ "position": "1–2/4",
+ "comment": "Decrescendogabel gestrichen mit Bleistift."
+ },
+ {
+ "measure": "22",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "({{ref.getGlyph('[a]')}}) zu H/g (nach Akkoladenwechsel) gestrichen mit Bleistift (Hs. ?)."
+ },
+ {
+ "measure": "22",
+ "system": "Klav. o.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[pp]')}} geändert zu {{ref.getGlyph('[ppp]')}} mit blauer Tinte."
+ },
+ {
+ "measure": "22
bis 23",
+ "system": "Klav. o.",
+ "position": "2/4",
+ "comment": "Gis1/Cis geändert zu As1/Des."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Cb_corr",
+ "label": "Korrekturen in Cb",
+ "description": [
+ "Cb weist zwei voneinander unterscheidbare Korrekturschichten auf: mit Tinte ggf. auf Rasur (Korrekturen 1) und mit Bleistift (Korrekturen 2). Der Zustand vor und nach Korrekturen 1 ist nicht eindeutig entzifferbar. Korrekturen 2 betreffen die Überarbeitung zu der in F etablierten Textfassung von Die geheimnisvolle Flöte M 217. Auf eine tabellarische Darstellung der beiden Korrekturschichten wird verzichtet, da sie auf Grund der zahlreichen Abweichungen der Grundschicht zu der edierten einzigen Textfassung nicht praktikabel ist."
+ ],
+ "comments": []
+ },
+ {
+ "id": "source_Cc_corr",
+ "label": "Korrekturen in Cc",
+ "description": [
+ "Cc weist zwei voneinander unterscheidbare Korrekturschichten auf: mit Tinte ggf. auf Rasur bzw. auf Tektur (Korrekturen 1) und mit Bleistift (Korrekturen 2). Der Zustand vor und nach Korrekturen 1 ist nicht eindeutig entzifferbar. Korrekturen 2 betreffen die Überarbeitung zu der in F etablierten Textfassung von „Schien mir’s, als ich sah die Sonne“ M 213. Auf eine tabellarische Darstellung der beiden Korrekturschichten wird verzichtet, da sie auf Grund der zahlreichen Abweichungen der Grundschicht zu der edierten einzigen Textfassung nicht praktikabel ist."
+ ],
+ "comments": []
+ },
+ {
+ "id": "source_Cd_corr",
+ "label": "Korrekturen in Cd",
+ "description": [
+ "Cd weist drei voneinander unterscheidbare Korrekturschichten auf: mit Tinte ggf. auf Rasur (Korrekturen 1), mit Bleistift (Korrekturen 2) und mit Kopierstift (Korrekturen 3). Der Zustand vor und nach Korrekturen 1 ist nicht eindeutig entzifferbar, post correcturam entspricht er in weiten Teilen Textfassung 1 von Gleich und Gleich („Ein Blumenglöckchen“) M 216. Korrekturen 2 und 3 betreffen die Überarbeitung zu der in F etablierten Textfassung 2. Auf eine tabellarische Darstellung der verschiedenen Korrekturschichten wird verzichtet, da sie auf Grund der zahlreichen Abweichungen der Grundschicht zu den beiden edierten Textfassungen nicht praktikabel ist."
+ ],
+ "comments": []
+ }
]
}
},
@@ -2605,7 +2861,7 @@
],
"comments": [
{
- "blockHeader": "I „Der Tag ist vergangen“ M 212",
+ "blockHeader": "I „Der Tag ist vergangen“ M 212",
"blockComments": [
{
"measure": "1",
diff --git a/src/assets/data/edition/series/1/section/5/op23/intro.json b/src/assets/data/edition/series/1/section/5/op23/intro.json
index d576e34537..cd45bfc25c 100644
--- a/src/assets/data/edition/series/1/section/5/op23/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op23/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "op23",
- "content": []
+ "id": "op23"
}
]
}
diff --git a/src/assets/data/edition/series/1/section/5/op25/intro.json b/src/assets/data/edition/series/1/section/5/op25/intro.json
index 6810d419dd..39c6d2c4d8 100644
--- a/src/assets/data/edition/series/1/section/5/op25/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op25/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "op25",
- "content": []
+ "id": "op25"
}
]
}
diff --git a/src/assets/data/edition/series/1/section/5/op25/source-description.json b/src/assets/data/edition/series/1/section/5/op25/source-description.json
index 3f7eb91d1f..127ac3c276 100644
--- a/src/assets/data/edition/series/1/section/5/op25/source-description.json
+++ b/src/assets/data/edition/series/1/section/5/op25/source-description.json
@@ -2180,18 +2180,916 @@
}
]
}
- ]
- }
- },
- {
- "id": "notA",
- "siglum": "",
- "siglumAddendum": "",
- "type": "",
- "location": "",
- "description": {
- "desc": [
- "[Die Beschreibung der in den Quellen gegebenenfalls enthaltenen Korrekturen erfolgt im Zusammenhang der vollständigen Edition der Drei Lieder nach Gedichten von Hildegard Jone op. 25 in AWG I/5.]"
+ ],
+ "corrections": [
+ {
+ "id": "source_E_corr1",
+ "label": "Korrekturen 1 in E",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Wie bin ich froh“ M 317: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "(5/8)",
+ "comment": "Geltungsstrichelung von rit. auf Rasur. Ante correcturam: rit. vermutlich versetzt von T. 1 5/8. Siehe TkA zu 4/8."
+ },
+ {
+ "measure": "10",
+ "system": "",
+ "position": "(3/4)",
+ "comment": "Geltungsstrichelung von rit. auf Rasur. Ante correcturam: rit. vermutlich versetzt von T. 10 3/4 zu Taktanfang."
+ },
+ {
+ "measure": "11
bis 12",
+ "system": "",
+ "position": "(4/4)",
+ "comment": "T. 11 4/4 wurde zum Teil auf handgezogenen Systemen am Akkoladenende ergänzt; am vom Systemanfang nach rechts verschobenen Akkoladenanfang vor T. 12 steht eine großflächige Rasur; weitere Rasuren in T. 12 Ges.; radierter Taktstrich nach T. 12 2/8. Ante correcturam: vermutlich eine dreitaktige Variante (T. [11–13]) mit Taktstrichen nach T. 11 6/8 (vor T. [12]) und nach T. 12 2/8 (vor T. [13]). Siehe M 317 Sk4 T. 13–15."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. u.",
+ "position": "2.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: Tonhöhen vermutlich im Violinschlüssel notiert. Siehe M 317 Sk4 T. 13–15."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_E_corr2",
+ "label": "Korrekturen 2 in E",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf die Textfassungen der Werkedition von Drei Lieder nach Gedichten von Hildegard Jone op. 25."
+ ],
+ "comments": [
+ {
+ "blockHeader": "I „Wie bin ich froh“ M 317",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "5–6/8",
+ "comment": "Auf Rasur. Ante correcturam: Aufteilung der Noten auf die Systeme vermutlich wie in Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Tenutostriche rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "vor 4",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Violinschlüssel versetzt von T. 4 vor 1. Note (dort Rasur; siehe Textfassung 1)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "8/8",
+ "comment": "Tenutostrich rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "5
bis 6",
+ "system": "Klav.",
+ "position": "5/8
1/8",
+ "comment": "Auf Rasur. Ante correcturam: Aufteilung der Noten auf die Systeme vermutlich wie in Textfassung 1."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "2. Note",
+ "comment": "Bleistiftskizzen über und unter der Akkolade (System 5 und 9) rasiert."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Ges.",
+ "position": "2. Note
2/8",
+ "comment": "Bogen rasiert (siehe Textfassung 1). Möglicherweise steht der Silbenbogen in T. 7 1–2/8 im Zusammenhang mit dieser Korrektur."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "nach 3/8",
+ "comment": "Violinschlüssel versetzt von vor 2. Note (dort Rasur; siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1). Möglicherweise steht der Silbenbogen in T. 8 3.–4. Note im Zusammenhang mit dieser Korrektur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Tenutostriche rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Tenutostriche rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Ges.",
+ "position": "8/8
2/8",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Bogen rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Tenutostrich rasiert (siehe Textfassung 1)."
+ },
+ {
+ "measure": "12",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "tempo I. ersetzt wieder tempo I. auf Rasur (siehe Textfassung 1)."
+ }
+ ]
+ },
+ {
+ "blockHeader": "II „Des Herzens Purpurvogel“ M 322",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Metronomangabe auf Rasur."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "1/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "3",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "3
bis 6",
+ "system": "Ges.",
+ "position": "6/16
3/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1–2/8",
+ "comment": "Auf Rasur. Ante correcturam: Hals- und Bogenausrichtung umgekehrt?"
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Ges.",
+ "position": "2/8
2/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "9",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "1/16",
+ "comment": "{{ref.getGlyph('[f]')}} auf Rasur."
+ },
+ {
+ "measure": "10",
+ "system": "",
+ "position": "4/16",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Ges.",
+ "position": "6/16
3/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "11",
+ "system": "Klav.",
+ "position": "2–6/16",
+ "comment": "Auf Rasur. Bleistiftskizzen über und unter dem Klav.-System (System 4 und 7) radiert."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2–3/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "13",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Crescendo- und Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Ges.",
+ "position": "2/8
6/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "15",
+ "system": "Klav.",
+ "position": "1–5/16",
+ "comment": "Rasur zwischen den Systemen. Ante correcturam: Gabel?"
+ },
+ {
+ "measure": "16",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "16
bis 17",
+ "system": "Ges.",
+ "position": "3/8
6/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[f]')}} auf Rasur."
+ },
+ {
+ "measure": "16
bis 17",
+ "system": "Klav. u.",
+ "position": "3/8
1/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "18
bis 19",
+ "system": "Ges.",
+ "position": "2/16
2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "19",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "20",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "21",
+ "system": "Klav. o.",
+ "position": "1/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "21",
+ "system": "Klav. u.",
+ "position": "2/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "23–24",
+ "system": "",
+ "position": "",
+ "comment": "rit. - - - tempo auf Rasur (bis Ende T. 24)."
+ },
+ {
+ "measure": "23",
+ "system": "Ges.",
+ "position": "2/16–2/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "23
bis 24",
+ "system": "Ges.",
+ "position": "3/8
1. Note",
+ "comment": "Anfang der Decrescendogabel auf Rasur. Ante correcturam: Ausdehnung der Gabel von T. 23 2/8 bis Taktende?"
+ },
+ {
+ "measure": "23
bis 24",
+ "system": "Klav. o.",
+ "position": "6/16
1/16",
+ "comment": "Auf Rasur. Ante correcturam: ges1? (Siehe M 322 Sk4 T. 12.)"
+ },
+ {
+ "measure": "24",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "25
bis 26",
+ "system": "Ges.",
+ "position": "1. Note
3/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "26",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "27",
+ "system": "Klav.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "27
bis 28",
+ "system": "Ges.",
+ "position": "4/16
2/16",
+ "comment": "Bogen rasiert. Crescendo- (T. 27 3/8) und Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "27
bis 28",
+ "system": "Klav.",
+ "position": "6/16
2/16",
+ "comment": "Bogen auf Rasur."
+ },
+ {
+ "measure": "29",
+ "system": "Ges.",
+ "position": "2–3/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "29
bis 30",
+ "system": "Ges.",
+ "position": "4/16
4/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "30",
+ "system": "",
+ "position": "6/16",
+ "comment": "tempo auf Rasur."
+ },
+ {
+ "measure": "30
bis 31",
+ "system": "Ges.",
+ "position": "6/16
3/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "31",
+ "system": "",
+ "position": "2/16",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "32",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Geltungsstrichelung von rit. (T. 31) auf Rasur."
+ },
+ {
+ "measure": "33",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "langsamer auf Rasur."
+ },
+ {
+ "measure": "33",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "33",
+ "system": "Ges.",
+ "position": "5–6/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "34",
+ "system": "Klav.",
+ "position": "2–4/16",
+ "comment": "Bogen rasiert. Staccatopunkt zu 4/16 auf Rasur."
+ },
+ {
+ "measure": "34",
+ "system": "Ges.",
+ "position": "4/16–3/8",
+ "comment": "Bogen rasiert. Tenutostrich zu 3/8 auf Rasur."
+ },
+ {
+ "measure": "35",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "35",
+ "system": "Ges.",
+ "position": "2–4/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "36",
+ "system": "Klav.",
+ "position": "2–4/16",
+ "comment": "{{ref.getGlyph('[pp]')}} und Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "37",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "37",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "37",
+ "system": "Klav.",
+ "position": "2/16",
+ "comment": "{{ref.getGlyph('[pp]')}} auf Rasur."
+ },
+ {
+ "measure": "38",
+ "system": "",
+ "position": "3/16",
+ "comment": "immer langsamer auf Rasur."
+ },
+ {
+ "measure": "38",
+ "system": "Klav. o.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[p]')}} auf Rasur."
+ },
+ {
+ "measure": "39",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert. Tenutostrich zu 3/8 auf Rasur."
+ },
+ {
+ "measure": "39",
+ "system": "Klav. u.",
+ "position": "2/8–6/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "40",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Rasur über Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "40",
+ "system": "Ges.",
+ "position": "2–5/16",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "40",
+ "system": "Klav.",
+ "position": "4–6/16",
+ "comment": "{{ref.getGlyph('[pp]')}} und Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "41",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "verlöschend auf Rasur."
+ },
+ {
+ "measure": "41",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen rasiert. Silbenbogen 2.–3. Note auf Rasur.
{{ref.getGlyph('[pp]')}}, Decrescendogabel (?) rasiert."
+ },
+ {
+ "measure": "nach 42",
+ "system": "",
+ "position": "",
+ "comment": "Bleistiftnotiz nach Schlusstaktstrich radiert."
+ }
+ ]
+ },
+ {
+ "blockHeader": "III „Sterne, ihr silbernen Bienen“ M 321",
+ "blockComments": [
+ {
+ "measure": "4–6",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur."
+ },
+ {
+ "measure": "9
bis 14",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "13",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. auf Rasur. Siehe M 321 Sk8 T. 5: calando."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Klav.",
+ "position": "2/4
2/4",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "15
bis 16",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "15–21",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Teilweise auf Rasur. Ante correcturam: alternative Aufteilung der Noten auf die Systeme?"
+ },
+ {
+ "measure": "17",
+ "system": "",
+ "position": "",
+ "comment": "Geltungstrichelung von rit. (T. 13) und viel mäßiger (2/4) auf Rasur. Siehe M 321 Sk8 T. 6 2. TH: tempo."
+ },
+ {
+ "measure": "17
bis 20",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "19",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Bleistifteintragung (Text) radiert."
+ },
+ {
+ "measure": "20",
+ "system": "",
+ "position": "",
+ "comment": "Rasur über der Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "21",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Viertelpause ersetzt Viertelnote e2 mit Ligaturbogen von T. 20 2/4 auf Rasur."
+ },
+ {
+ "measure": "22",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. - - - auf Rasur. Siehe M 321 Sk8 T. 8A: calando."
+ },
+ {
+ "measure": "22–24",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "26–28",
+ "system": "",
+ "position": "",
+ "comment": "Bleistifteintragung (Text) radiert."
+ },
+ {
+ "measure": "28",
+ "system": "",
+ "position": "",
+ "comment": "Rasur über der Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "29
bis 31",
+ "system": "",
+ "position": "Taktanfang
1/4",
+ "comment": "rit.- - - auf Rasur."
+ },
+ {
+ "measure": "29
bis 30",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "31",
+ "system": "",
+ "position": "2/4",
+ "comment": "wieder viel mäßiger auf Rasur."
+ },
+ {
+ "measure": "31
bis 33",
+ "system": "Ges.",
+ "position": "2/4
1/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "33
bis 34",
+ "system": "Ges.",
+ "position": "2/4
2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "34",
+ "system": "Klav. o.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Bleistiftskizze im System darüber radiert."
+ },
+ {
+ "measure": "35",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. - - - auf Rasur."
+ },
+ {
+ "measure": "35",
+ "system": "Klav. u.",
+ "position": "1/4",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "35
bis 36",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "37",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "tempo I. auf Rasur."
+ },
+ {
+ "measure": "37
bis 38",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "39",
+ "system": "",
+ "position": "2/4",
+ "comment": "rit. - - - auf Rasur (ab Taktanfang)."
+ },
+ {
+ "measure": "39
bis 41",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "42
bis 45",
+ "system": "Ges.",
+ "position": "1. Note
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "43",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Siehe M 321 Sk8 T. 15: h–b1."
+ },
+ {
+ "measure": "46
bis 49",
+ "system": "Ges.",
+ "position": "1. Note
2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "48
bis 49",
+ "system": "Ges.",
+ "position": "2. Note
2. Note",
+ "comment": "Drecrescendogabel auf Rasur."
+ },
+ {
+ "measure": "48
bis 49",
+ "system": "Klav.",
+ "position": "2/4
2/4",
+ "comment": "Drecrescendogabel auf Rasur."
+ },
+ {
+ "measure": "50
bis 51",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "51",
+ "system": "",
+ "position": "2/4",
+ "comment": "tempo auf Rasur (ab Taktanfang)."
+ },
+ {
+ "measure": "51",
+ "system": "Klav. u.",
+ "position": "2/4",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "55",
+ "system": "Klav. o.",
+ "position": "vor 2/4",
+ "comment": "Rasur. Siehe M 321 Sk8 T. 19B vor 2/8: Vorschlagsnote e1."
+ },
+ {
+ "measure": "56",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Rasur über der Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "56",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[ff]')}} auf Rasur. Siehe M 321 Sk8 T. 19B 1. Note: {{ref.getGlyph('[f]')}}."
+ },
+ {
+ "measure": "57",
+ "system": "",
+ "position": "",
+ "comment": "Rasur über der Akkolade. Ante correcturam: Tempoangabe?"
+ },
+ {
+ "measure": "57",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasur. Siehe M 321 Sk8 T. 19B 2. TH."
+ },
+ {
+ "measure": "58
bis 60",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "61",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "wieder viel mäßiger auf Rasur (bis Ende T.63)."
+ },
+ {
+ "measure": "61
bis 63",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "62
bis 63",
+ "system": "Klav. u.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert. Staccatopunkte möglicherweise nach Rasur hinzugefügt."
+ },
+ {
+ "measure": "63
bis 64",
+ "system": "Klav. o.",
+ "position": "1/4
1/4",
+ "comment": "Bogen rasiert. Staccatopunkte möglicherweise nach Rasur hinzugefügt."
+ },
+ {
+ "measure": "65
bis 68",
+ "system": "Ges.",
+ "position": "2/4
1/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "67",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. - - - auf Rasur."
+ },
+ {
+ "measure": "67–68",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasur. Siehe M 321 Sk8 T. 23B."
+ },
+ {
+ "measure": "69",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Geltungsstrichelung auf Rasur (bis tempo)."
+ },
+ {
+ "measure": "69
bis 74",
+ "system": "Ges.",
+ "position": "2/4
2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "71
bis 73",
+ "system": "Klav.",
+ "position": "1/4",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "73",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rit. - - - auf Rasur (bis Taktende)."
+ },
+ {
+ "measure": "74
bis 75",
+ "system": "Klav.",
+ "position": "1/4
1/4",
+ "comment": "Bogen rasiert. Bogen T. 74 1–2/4 auf Rasur."
+ },
+ {
+ "measure": "75
bis 76",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "76",
+ "system": "Ges.",
+ "position": "",
+ "comment": "< > auf Rasur."
+ },
+ {
+ "measure": "76",
+ "system": "",
+ "position": "2/4",
+ "comment": "tempo I. [...] auf Rasur (ab Taktanfang)."
+ },
+ {
+ "measure": "nach 78",
+ "system": "",
+ "position": "",
+ "comment": "Bleistifteintragung 2’ nach dem Schlusstaktstrich radiert."
+ }
+ ]
+ }
+ ]
+ }
]
}
}
diff --git a/src/assets/data/edition/series/1/section/5/op3/intro.json b/src/assets/data/edition/series/1/section/5/op3/intro.json
index a65a92a39e..1d26375a80 100644
--- a/src/assets/data/edition/series/1/section/5/op3/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op3/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "op3",
- "content": []
+ "id": "op3+4"
}
]
-}
\ No newline at end of file
+}
diff --git a/src/assets/data/edition/series/1/section/5/op3/source-description.json b/src/assets/data/edition/series/1/section/5/op3/source-description.json
index de67fd948f..07cfe29789 100644
--- a/src/assets/data/edition/series/1/section/5/op3/source-description.json
+++ b/src/assets/data/edition/series/1/section/5/op3/source-description.json
@@ -144,6 +144,280 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Aa_corr1",
+ "label": "Korrekturen 1 in Aa (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "4
bis 5",
+ "system": "Klav. u.",
+ "position": "4/8
3/8",
+ "comment": "Legatobogen nach T. 4 6/8 rasiert."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "1.–3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5
bis 7",
+ "system": "Klav.",
+ "position": "4/8
(2/4)",
+ "comment": "Zuerst: auf Rasur. Ante correcturam teilweise zu entziffern: Klav. o. T. 5 4/8 bis T. 6 3/8 und T. 7 1/8 eine Oktave tiefer.
Dann T. 6 6/8: Akzidenzien rasiert und h2 korrigiert zu c3. (Entzifferung nicht eindeutig, mehrmals nachgezogen: möglicherweise bleibt h2?). Siehe TkA zu T 6 6/8."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: Kleinschreibung e[in] überschrieben zu E[in]."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: Kleinschreibung n[ur] überschrieben zu N[ur]."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "3/16",
+ "comment": "Notenkopf auf Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "3/4",
+ "comment": "Notenkopf von zu e und {{ref.getGlyph('[a]')}} auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Notenhals auf Rasur. Ante correcturam: Achtelfähnchen.
Text: Kleinschreibung m[öcht] überschrieben zu M[öcht]."
+ },
+ {
+ "measure": "11",
+ "system": "",
+ "position": "",
+ "comment": "Taktvorzeichnung auf Rasur, Schlusstaktstrich nach 1. Note rasiert."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Aa_corr2",
+ "label": "Korrekturen 2 in Aa (mit Bleistift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "Achtelnote E getilgt durch Einkreisung und ersetzt durch Achtelpause. Siehe Textfassung 2."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen über, unter und nach den Systemen.
System 9–13:
##Abbildung##
System 15–18:
##Abbildung##
Siehe Textfassung 2."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Fermate hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ab_corr1",
+ "label": "Korrekturen 1 in Ab (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Violinschlüssel überschreibt Bassschlüssel."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "5/16",
+ "comment": "f1 gestrichen und geändert zu a1."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "9.–12. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Text: Kleinschreibung n[ur] überschrieben zu N[ur]."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "4.–8. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "8.–9. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "Taktende",
+ "comment": "Taktstrich rasiert und weiter rechts neu gezogen."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "3. Note",
+ "comment": "{{ref.getGlyph('[b]')}}-Akzidenz auf Höhe zu as1 überschrieben auf Höhe zu b1."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "5–8/16",
+ "comment": "Fortsetzung des von T. 4 kommenden Legatobogens bis 8/16 rasiert und Ende versetzt zu 5/16, Bogen 5–8/16 hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3.–5. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "8.–10. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich Notenhälse und Balken über den Noten."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "4/16",
+ "comment": "{{ref.getGlyph('[b]')}} überschrieben zu {{ref.getGlyph('[a]')}}."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "17–20/23",
+ "comment": "Auf Rasur. Siehe TkA zu 19–20/32."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: Kleinschreibung n[un] überschrieben zu N[un]."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "9/16",
+ "comment": "{{ref.getGlyph('[a]')}} überschrieben zu {{ref.getGlyph('[b]')}}."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "7. Note",
+ "comment": "Text: Kleinschreibung u[m] überschrieben zu U[m]."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "7. Note",
+ "comment": "Text: tage, Endsilbe [-]ge gestrichen und zu 8. Note versetzt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "10/16",
+ "comment": "Sechzehntelpause gestrichen. Siehe TkA."
+ },
+ {
+ "measure": "10",
+ "system": "",
+ "position": "4/4",
+ "comment": "Auf Rasur. Ante correcturam: Schlusstaktstrich. Siehe TkA zu T. 10 Taktanfang."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ab_corr2",
+ "label": "Korrekturen 2 in Ab (mit Bleistift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "3–5",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Korrekturskizzen unter der Akkoalde (System 14–15):
##Abbildung##
Siehe Textfassung 2."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "5–11/16",
+ "comment": "Korrekturskizzen unter der Akkoalde (System 16–18):
##Abbildung##
Siehe Textfassung 2."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "9–16/16",
+ "comment": "Korrekturskizzen unter und nach der Akkoalde (System 4, 6):
##Abbildung##"
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "Es gestrichen und geändert zu G."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen unter der Akkoalde (System 14–18):
##Abbildung##
Siehe Textfassung 2."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -230,6 +504,46 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_B_corr",
+ "label": "Korrekturen in B",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu b2 nachgezogen. (Zunächst zu hoch [ces3] angesetzt.)"
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "10–12/16",
+ "comment": "Auf Tektur. Rechts neben Tektur in Klav. o. mit Bleistift zwei oben zusammengebalkte Sechzehntelnoten {{ref.getGlyph('[a]')}}c3–{{ref.getGlyph('[a]')}}d2/h2, radiert."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "1–4/16",
+ "comment": "Klav. u. 1–4/16 auf Rasur, Klav. o. (2/16) rasiert. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu f1 hinzugefügt mit Bleistift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -333,6 +647,298 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_C_corr",
+ "label": "Korrekturen in C",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 3."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Ganz wenig bewegt ({{ref.getGlyph('[Achtelnote]')}}) auf Rasur."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Teilweise auf Rasur."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich Achtelpause, Achtelnote d1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2–3/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten fis1–f1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich as1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "(1/4)",
+ "comment": "Rasur unter 1. Note. Ante correcturam: vermutlich Unterstimmenschicht Viertelnote b/e1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "Taktanfang bis 6/8",
+ "comment": "Fortsetzung des Legatobogens bis 6/8 (siehe Textfassung 2) rasiert."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "2–6/8",
+ "comment": "Fortsetzung des Legatobogens bis 6/8 (siehe Textfassung 2) rasiert."
+ },
+ {
+ "measure": "3",
+ "system": "Klav.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav.",
+ "position": "6/8
2/8",
+ "comment": "Crescendo-/Decrescendogabel hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav. u.",
+ "position": "6/8
6/8",
+ "comment": "Legatobogen rasiert und neu gesetzt in T. 3 6/8 bis T. 4 1/4 und T. 4 4–6/8."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: auf Rasur. Ante correcturam: vermutlich Großschreibung Von (siehe Textfassung 2)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "3. Note auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten g1–fis1 (siehe Textfassung 2). D. h. Augementationspunkt zu 2. Note vermutlich hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "",
+ "position": "4/8",
+ "comment": "Tempo auf Rasur. Weitere Rasur ohne neuen Text an entsprechender Position über Klav. o."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "5
bis 6",
+ "system": "Ges.",
+ "position": "4/8
1. Note",
+ "comment": "Crescendogabel hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten es2–cis2 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} und {{ref.getGlyph('[a]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "5/16",
+ "comment": "Rasur unter der Note. Ante correcturam: vermutlich {{ref.getGlyph('[ppp]')}} (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "5–11/16",
+ "comment": "Crescendo-/Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten gis1–h1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "11–12/16",
+ "comment": "Ein durchgehender Legatobogen T. 6 5/16 bis T. 7 12. Note (siehe Textfassung 2) teilweise rasiert und geändert; Ende des ersten Legatobogens zu 11/16 und Anfang des zweiten Legatobogens zu 12/16 gesetzt. Siehe auch Korrektur zu T. 7 6–7/32 und T. 7 10.–12. Note."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1.–4. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "",
+ "position": "3/16
1/8",
+ "comment": "rit. - - - hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift. rit. - - - auch über Klav. o. ab T. 7 1/8 zuerst mit Bleistift, dann radiert."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3/16–12/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich: wie Textfassung 2. Text: ein zu 3/16 (ante correcturam: vermutlich Großschreibung Ein) und (leicht-be-schwing-)tes zu 12/16 neu notiert."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "6–7/32",
+ "comment": "Ein durchgehender Legatobogen T. 6 5/16 bis T. 7 12. Note (siehe Textfassung 2) teilweise rasiert und geändert; Ende des zweiten Legatobogens zu 6/32 und Anfang des dritten Legatobogens zu 7/32 gesetzt. Siehe Korrektur zu T. 6 11–12/16 und T. 7 10.–12. Note."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "10.–12. Note",
+ "comment": "Ein durchgehender Legatobogen T. 6 5/16 bis T. 7 12. Note (siehe Textfassung 2) teilweise rasiert und geändert; Ende des dritten Legatobogens zu 10. Note gesetzt und Staccatopunkte zu 11.–12. Note hinzugefügt. Siehe Korrektur zu T. 6 11–12/16 und T. 7 6–7/32."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "11–12/16",
+ "comment": "Staccatopunkte auf Rasur. Ante correcturam: Legatobogen (siehe Textfassung 2).
Decrescendogabel auf Rasur hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "2/16",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "2/8",
+ "comment": "etwas langsamer | als tempo I. auf Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "3. Note auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten e1–es1 (siehe Textfassung 2). D. h. Augmentationspunkt zu 2. Note vermutlich hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "8
bis 10",
+ "system": "Klav.",
+ "position": "4/8
1/8",
+ "comment": "Auf Rasuren. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Achtelfähnchen geändert zu Balken.
Silbenbogen hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Text: auf Rasur. Ante correcturam: vermutlich Großschreibung Möcht (siehe Textfassung 2)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten g1–fis1 (siehe Textfassung 2) mit Silbenbogen."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "(1/4)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich Achtelpause, Achtelnote {{ref.getGlyph('[a]')}}f1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Text: auf Rasur. Ante correcturam: vermutlich rühr-te (siehe Textfassung 2)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit schwarzer Tinte auf Vorzeichnung mit Bleistift."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Klav. u.",
+ "position": "2. Note
1/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -816,6 +1422,1066 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Ea_corr",
+ "label": "Korrekturen in Ea",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 4."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "etwas zögernd gestrichen mit grünem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} geändert zu {{ref.getGlyph('[pp]')}} mit grünem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "(2/4)",
+ "comment": "Triole aus Viertelnote, Achtelpause geändert zu Viertelnote; Bogen nach Viertelnote gestrichen mit rotem Buntstift.
< > hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "1
bis 2",
+ "system": "Ges.",
+ "position": "1. Note
5/8",
+ "comment": "Bogen hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[pp]')}} geändert zu {{ref.getGlyph('[ppp]')}} mit grünem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Wellenlinie über den Noten mit rotem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Wellenlinie über den Noten mit rotem Buntstift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} überschrieben zu {{ref.getGlyph('[p]')}} mit grünem Buntstift, dann {{ref.getGlyph('[p]')}} geändert zu [mp] mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Markierung der Viertel-Zählzeiten mit 1, 2, 3, 4 und Klammern (Zählzeiten 1–3) über dem System mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} überschrieben zu {{ref.getGlyph('[pp]')}} mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Decrescendogabel hinzugefügt, Legatobogen gestrichen mit rotem Buntstift."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "(1/16)",
+ "comment": "Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Achtelnote c1 sowie Etwas langsamer | als Tempo I. auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Teilweise auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Notenkopf eingekreist mit grünem Buntstift."
+ },
+ {
+ "measure": "10",
+ "system": "Ges., Klav. o.",
+ "position": "(4/8)",
+ "comment": "Markierungen zur korrekten Untersatz-Position von Ges. 4/8 im Verhältnis zu Klav. o. 2.–4. Note mit Bleistift und grünem Buntstift."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Eb_corr1",
+ "label": "Korrekturen 1 in Eb (mit Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Text: Anfang von nur nachgezogen."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5/8",
+ "comment": "Text: Komma hinzugefügt. Siehe TkA."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "6.–7. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1.–4. Note",
+ "comment": "Bogen bis 5/16 in Klav. u. rasiert und geändert bis zu 4. Note."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "6–12/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "Text: ein auf Rasur. Ante correcturam: vermutlich Großschreibung Ein (siehe Textfassung 1)."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich dis1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: nun auf Rasur. Ante correcturam: vermutlich Großschreibung Nun (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "2/2",
+ "comment": "Vermutlich Viertelpause zu 4/4 rasiert (siehe Textfassung 1) und Halbe Pause hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "vorletze Note",
+ "comment": "Text: um auf Rasur. Ante correcturam: vermutlich Großschreibung Um (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "6.–7. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Text: [a]-lle auf Rasur. Ante correcturam: vermutlich -lle bereits zu 5/8."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Text: in auf Rasur. Ante correcturam: vermutlich Großschreibung In (siehe Textfassung 1)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "5/16–6/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "10",
+ "system": "Ges, Klav. o.",
+ "position": "4/4",
+ "comment": "Viertelpause auf Rasur. Ante correcturam: Schlusstaktstrich nach 3/4."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Eb_corr2",
+ "label": "Korrekturen 2 in Eb (mit Bleistift und grünem Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Bewegt mit Bleistift."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Wellenlinie über den Noten mit grünem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu a mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3–5/8",
+ "comment": "Wellenlinie über den Noten mit grünem Buntstift."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "",
+ "position": "(5/8)
Taktanfang",
+ "comment": "rit.- - - langsamer gestrichen mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "8/16",
+ "comment": "Sechzehntelfähnchen hinzugefügt mit Bleistift. Siehe Korrekturen 1 1.–3. Note."
+ },
+ {
+ "measure": "5",
+ "system": "Klav.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Wellenlinie über den Noten mit grünem Buntstift."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "langsam gestrichen mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "(2/4)",
+ "comment": "Zuerst: rit zu (4/8) hinzugefügt mit grünem Buntstift.
Dann: rit gestrichen und Rit zu 3/8 hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "",
+ "position": "2/8
Taktanfang",
+ "comment": "acell. - - - tempo hinzugefügt zunächst mit Bleistift, dann mit schwarzer Tinte nachgezogen. (Siehe Textfassung 3.)"
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ec_corr1",
+ "label": "Korrekturen 1 in Ec (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „An Bachesranft“ M 135: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "",
+ "comment": "Leicht und zart auf Rasur."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav. o./u.",
+ "position": "1. Pause
bis letzte Note",
+ "comment": "Bögen gestrichen."
+ },
+ {
+ "measure": "vor 1
bis 3",
+ "system": "Ges.",
+ "position": "2/8
4. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "3
bis 5",
+ "system": "Ges.",
+ "position": "6/8
1/8",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "5
bis 7",
+ "system": "Ges.",
+ "position": "4/16
vorletzte Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "6
bis 10",
+ "system": "Klav. o.",
+ "position": "1/8
1/8",
+ "comment": "Bogen rasiert. Bögen T. 6 1/8 bis T. 7 3. Note sowie T. 7 4. Note bis T. 10 1/8 vermutlich hinzugefügt."
+ },
+ {
+ "measure": "8–12",
+ "system": "",
+ "position": "",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Text: Rasur nach bleicht."
+ },
+ {
+ "measure": "8
bis 11",
+ "system": "Ges.",
+ "position": "4/8
letzte Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "10
bis 12",
+ "system": "Klav.",
+ "position": "2. Note
2/4",
+ "comment": "Bogen gestrichen. Bogen in T. 10 2. Note bis 8/16 auf Rasur hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "A auf Rasur."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Ges.",
+ "position": "1/8
letzte Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "14",
+ "system": "Klav.",
+ "position": "1. Note
bis 2/4",
+ "comment": "Ligaturbögen auf Rasur."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ec_corr2",
+ "label": "Korrekturen 2 in Ec (mit Bleistift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „An Bachesranft“ M 135: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "1–3/8",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "3–7",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "Taktanfang",
+ "comment": "2/4-Taktvorzeichnung geändert zu 3/4. Siehe Textfassung 2."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "Achtelnote geändert zu punktierter Viertelnote. Siehe Textfassung 2."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "(2/4)",
+ "comment": "im Tempo hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "tempo hinzugefügt."
+ },
+ {
+ "measure": "8
bis 9",
+ "system": "",
+ "position": "Taktanfang
Taktende",
+ "comment": "Zuerst: rit. - - - hinzugefügt.
Dann: Position von rit. geändert zu T. 9 Taktanfang."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "8va hinzugefügt. Siehe Textfassung 2."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "NB-Formulierung gestrichen."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "3. Note",
+ "comment": "Tenutostrich hinzugefügt."
+ },
+ {
+ "measure": "14–15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ed_corr1",
+ "label": "Korrekturen 1 in Ed (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Zwei Achtelnoten geändert zu triolischer Viertelnote und Achtelnote. Siehe Textfassung2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "8/8",
+ "comment": "Achtelnote geändert zu Sechzehntelnote und zu (16/16) versetzt. Siehe auch Korrekturen 2 7/8."
+ },
+ {
+ "measure": "5
bis 6",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "Auf Rasur geändert zu rhythmischer Formulierung von Textfassung 2. Entzifferung ante correcturam unsicher: siehe TkA."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "5/16–24/32",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf Rasur geändert zu rhythmischer Formulierung von Textfassung 2. Entzifferung ante correcturam unsicher: siehe TkA zu 1–4/8."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1–2/4",
+ "comment": "Auf Rasur geändert zu rhythmischer Formulierung von Textfassung 2. Entzifferung ante correcturam unsicher: siehe TkA."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "Fortführung des Bogens nach T. 8 geändert zu Ende des Bogens in T. 7 letzte Note. Siehe Textfassung 2."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3–6/8",
+ "comment": "Teilweise auf Rasur geändert zu rhythmischer Formulierung von Textfassung 2."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Zwei Achtelnoten geändert zu triolischer Viertelnote und Achtelnote. Siehe Textfassung2."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ed_corr2",
+ "label": "Korrekturen 2 in Ed (mit türkisem Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Zäsurzeichen zwischen den Noten hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "2.–4. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "6/8 bis letzte Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "7/8",
+ "comment": "Achtelnote geändert zu punktierter Achtelnote. Siehe auch Korrekturen 1 8/8."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges., Klav.",
+ "position": "(3/8)",
+ "comment": "Fermate hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2., 3. Note",
+ "comment": "Pfeile zu Klav. u. zur Bestimmung des korrekten Untersatzes."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "sehr ruhig (siehe Textfassung 1) gestrichen und geändert zu langsamer als zu Beginn."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "12/16–7/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "",
+ "position": "Taktanfang
Taktende",
+ "comment": "Rit[.] - - - hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "dis1 zu gis1 hinzugefügt. (Notiert in Klav. o.)"
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8–5/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "5. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu b1 hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "8/8",
+ "comment": "wie ein Hauch (siehe T. 10 1/8) bereits hier hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ee_corr1",
+ "label": "Korrekturen 1 in Ee (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "4–5/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich 3–5/8 wie Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich 2/4–5/8 wie Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich 3–5/8 wie Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Text: Großschreibung Im geändert zu Kleinschreibung im."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: Großschreibung Sein geändert zu Kleinschreibung sein."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: Großschreibung Laß überschrieben zu Kleinschreibung laß."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: Großschreibung Vor geändert zu Kleinschreibung vor."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[sf]')}} gestrichen."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Zwei Achtelnoten geändert zu triolischer Viertelnote und Achtelnote."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "Text: Großschreibung Mit geändert zu Kleinschreibung mit."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Text: Großschreibung Noch geändert zu Kleinschreibung noch."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "4/8, 3/4",
+ "comment": "Auf Rasur. (Vermutlich Untersatz-Korrektur.)"
+ },
+ {
+ "measure": "13–15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Teilweise auf Rasur. Ante correcturam: vermutlich wie Textfassung 1. Siehe auch Korrekturen 3 T. 14 Klav. u."
+ },
+ {
+ "measure": "16
bis [17]",
+ "system": "",
+ "position": "",
+ "comment": "Zusätzlicher Takt [17] (wie Textfassung 1) gestrichen und Schlusstaktstrich nach T. 16 hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ee_corr2",
+ "label": "Korrekturen 2 in Ee (mit türkisem Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "1.–2. Note",
+ "comment": "Bogen gestrichen."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Oberstimmenschicht: Bogen gestrichen."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "3–5/8",
+ "comment": "Unterstimmenschicht. Bogen gestrichen."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Viertelnote geändert zu Achtelnote, Achtelpause."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "3. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "4.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[mf]')}} hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "3–6/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "Tenutostrich hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "13",
+ "system": "Ges-",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ee_corr3",
+ "label": "Korrekturen 3 in Ee (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "5/8",
+ "comment": "fis1 geändert zu ges1."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Zwei Achtelnoten geändert zu punktierter Achtelnote, Sechzehntelnote. Siehe Korrekturen in G."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Zwei Achtelnoten geändert zu punktierter Achtelnote, Sechzehntelnote. Siehe Korrekturen in G."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Zwei Achtelnoten geändert zu triolischer Viertelnote und Achtelnote. {{ref.getGlyph('[a]')}} zu g1 hinzugefügt. Siehe Korrekturen in G."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Ausrufezeichen nach [he-]ben hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Kleinschreibung gunst überschrieben zu Großschreibung Gunst."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "Notenkopf und Akzidens rasiert."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1051,6 +2717,1200 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Fa_corr1",
+ "label": "Korrekturen 1 in Fa (mit schwarzer Tinte, Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 3."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Ganz wenig bewegt ({{ref.getGlyph('[Achtelnote]')}}) hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "2/8–2/4",
+ "comment": "Ped. und [Pedal-Aufhebung] hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Auf Rasur. Ante correcturam vermutlich: Achtelpause, Achtelnote d1 (wie Textfassung 2). Text: Dies neu zu 2/4 notiert (Hs. Webern)."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2–3/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten fis1–f1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "1. bis letzte Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "Rasur. Ante correcturam: vermutlich Viertelnote b/e1 als Unterstimmenschicht in Klav. o. (siehe Textfassung 2)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "Taktanfang bis 6/8",
+ "comment": "Fortsetzung des Legatobogens (wie Textfassung 2) rasiert."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "2–6/8",
+ "comment": "Fortsetzung des Legatobogens (wie Textfassung 2) rasiert."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Klav.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav.",
+ "position": "6/8
2/8",
+ "comment": "Crescendo-/Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav. u.",
+ "position": "6/8
6/8",
+ "comment": "Legatobogen rasiert. Bogen T. 4 4–6/8 auf Rasur."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten g1–fis1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "4",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "zögernd hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "",
+ "position": "4/8",
+ "comment": "Tempo über Ges. und Klav. o. hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten es2–cis2 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} und {{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1/8–5/16",
+ "comment": "Ped. und [Pedal-Aufhebung] hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten gis1–h1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1.–4. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3/16–12/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2. Text: Ein zu 3/16 und (leicht-be-schwing-)tes zu 12/16 neu notiert."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "",
+ "position": "3/16
1/8",
+ "comment": "rit. - - - hinzugefügt über Ges. und Klav. o."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "2/8",
+ "comment": "etwas langsamer | als tempo I. hinzugefügt über Klav. o."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten e1–es1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "8
bis 10",
+ "system": "Klav.",
+ "position": "4/8
1/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Achtelfähnchen bei 5/8 überschrieben mit Balken zu 6/8.
Silbenbogen hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten g1–fis1 (siehe Textfassung 2). Silbenbogen hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "(1/4)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich Achtelpause, Achtelnote {{ref.getGlyph('[a]')}}f1 (siehe Textfassung 2). {{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "10
bis 12",
+ "system": "",
+ "position": "(2/8)
1/4",
+ "comment": "rit. - - - über ges. und Klav. o. hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Klav. u.",
+ "position": "2. Note
1/4",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Klav.",
+ "position": "2. Note
2/4",
+ "comment": "Ped. und [Pedal-Aufhebung] hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text: auf Rasur. Ante correcturam: vermutlich [rühr(-)]te (siehe Textfassung 2)."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Fa_corr2",
+ "label": "Korrekturen 2 in Fa (Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Dies ist ein Lied“ M 133: Textfassung 3."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "etwas zögernd hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "Geändert zu Triole aus Viertelnote d1 und Achtelpause mit Bogen (siehe Textfassung 4) mit grünem Buntstift.
Siehe TkA zu Textfassung 4."
+ },
+ {
+ "measure": "2",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Tempo mit rotem Buntstift."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Tenutostrich zu 5. Note, Staccatopunkt zu 6. Note, Bogen 5.–6. Note mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "",
+ "comment": "4/4-Taktvorzeichnung am Taktanfang hinzugefügt bei Klav. o. mit Bleistift und zwischen den Klav.-Systemen mit grünem Buntstift. Am Taktende mit grünem Buntstift und Bleistift Hinzufügung (4/4):
##Abbildung##
Siehe Textfassung 4."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "(1/8)",
+ "comment": "Zuerst: Sechzehntelpause hinzugefügt mit Bleistift.
Dann: Sechzehntelpause gestrichen und Achtelpause mit Fermate hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1–2/16",
+ "comment": "Sechzehntelpause bei 1/16 gestrichen, Ligaturbögen zu 2/16 von T. 7 und Sechzehntelpause mit Fermate hinzugefügt mit Bleistift. Siehe Textfassung 4."
+ },
+ {
+ "measure": "8",
+ "system": "Ges., Klav. o.",
+ "position": "nach (1/8)",
+ "comment": "Zäsurzeichen gestrichen mit Bleistift."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Klav. u.",
+ "position": "3/4
1/8",
+ "comment": "Ligaturbögen in T. 9 3/4 gestrichen sowie Achtelpause und Triolenzeichen hinzugefügt mit Bleistift; Achtelnoten in T. 10 1/8 gestrichen mit Bleistift. Siehe Textfassung 4."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Klav. u.",
+ "position": "3/4
1/4",
+ "comment": "Unterstimmenschicht: Ligatur zwei Viertelnoten Fis1 gestrichen mit grünem Buntstift. Siehe Textfassung 4."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Fb_corr1",
+ "label": "Korrekturen 1 in Fb (mit schwarzer Tinte ggf. auf Rasur, Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 2. Abweichungen der Grundschicht von Fb zu dieser Textfassung sind mit dem Vermerk „sic“ gekennzeichnet."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "2–8/16",
+ "comment": "sic: ein Bogen."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Text sic: Großschreibung Nur (siehe Textfassung 1)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2/8–8/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich drei Achtelnoten fis1–dis2–ais1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Text sic: Großschreibung Was (siehe Textfassung 1)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "4/16",
+ "comment": "sic: {{ref.getGlyph('[a]')}}c1."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich zwei Achtelnoten d1–cis1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Text sic: Großschreibung Nacht."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Text sic: Ein (siehe Textfassung 1)."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich dis1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "Text sic: Großschreibung Mai. Komma fehlt (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text sic: Großschreibung Nun (siehe Textfassung 1)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Text sic: Großschreibung Um (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Text sic: Großschreibung Aug."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "1.–5. Note",
+ "comment": "sic: Bogen. Siehe Korrekturen 2 in Fb."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "Text sic: Großschreibung Haar."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Text sic: Großschreibung In (siehe Textfassung 1)."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Fb_corr2",
+ "label": "Korrekturen 2 in Fb (Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Windesweben“ M 134: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Sehr bewegt hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "2–4/16",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "4–5/16",
+ "comment": "Vertikaler Gliederungstrich hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "7–10/16",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "8–9/16",
+ "comment": "Vertikaler Gliederungstrich hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} geändert zu {{ref.getGlyph('[ppp]')}} mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "1
bis 3",
+ "system": "Ges.",
+ "position": "6/8
5/8",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "2–4/16",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3–4/8",
+ "comment": "Wellenline über den Noten zunächst hinzugefügt, dann gestrichen mit rotem Buntstift."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "5–7/16",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "10.–15. Note",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "3
bis 5",
+ "system": "Klav. o.",
+ "position": "1/8
3. Note",
+ "comment": "Bogen überschrieben zu Verlängerung des Bogens bis T. 2 letzte Note zu T. 3 1/8 sowie zu Bogen in T. 3 2.–6. Note, T. 3 7. Note bis T. 4 5. Note und T. 4 6. Note bis T. 5 3. Note mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "2.–5. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}}, Crescendogabel bis 3. Note und Decrescendogabel ab 4. Note hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3–5/8",
+ "comment": "Decrescendogabel gestrichen mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "7. Note bis Taktende",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "nicht zurückhalten hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "5.–8. Note",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift (überschreibt Crescendogabel 1.–3. Note)."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "3. Note",
+ "comment": "espr. hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "4.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Ges.",
+ "position": "letzte Note
4. Note",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Vermutlich zunächst Crescendogabel hinzugefügt mit schwarzer Tinte, dann Gabel gestrichen mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "2/16, 4/16",
+ "comment": "Staccatopunkte hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Vermutlich zunächst Decrescendogabel hinzugefügt mit schwarzer Tinte, dann Wellenline auf Gabel hinzugefügt (als Streichung?) mit rotem Buntstift."
+ },
+ {
+ "measure": "5
bis 6",
+ "system": "",
+ "position": "5/16
Taktende",
+ "comment": "rit[.] - - - zunächst hinzugefügt über Ges. mit Bleistift und rotem Buntstift sowie über Klav. o. mit schwarzer Tinte, dann über Klav. o. bis vor T. 6 5/8 gestrichen mit schwarzer Tinte. Siehe Korrektur in T. 6 5/8 bis Taktende."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "5/16",
+ "comment": "Sechzehntelnote b1 überschrieben zu Sechzehntelpause mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "5–8/16",
+ "comment": "{{ref.getGlyph('[p]')}}, Decrescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3. Note",
+ "comment": "Tenutostrich hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3. Note–4. Pause",
+ "comment": "Augmentationspunkt zu gis hinzugefügt und Zweiunddreißigstelpause gestrichen mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "8. Note",
+ "comment": "{{ref.getGlyph('[b]')}} hinzugefügt mit schwarzer Tinte. Siehe Korrektur zu 5/16."
+ },
+ {
+ "measure": "5",
+ "system": "Klav.",
+ "position": "(3/4)",
+ "comment": "{{ref.getGlyph('[pp]')}}, Decrescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Staccatopunkte hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1–4/16",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Klav. o.",
+ "position": "4/16
6/8",
+ "comment": "Bogen in T. 5 gestrichen, in T. 6 überschrieben mit Bogen zu 2–4/8 und Tenutostriche zu 5–6/8 (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Triole aus Achtelnote gis1 (mit Tenutostrich), Achtelpause, Achtelnote g1 (siehe Textfassung 3) teilweise auf Rasur. Ante correcturam: vermutlich zunächst zwei Achtelnoten gis1–g1 (siehe Textfassung 1), dann Triole aus Viertelnote gis1 und Achtelnote g1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "3/8
bis Taktende",
+ "comment": "rit[.] [eingerahmt] und Wellenlinie hinzugefügt über Ges. mit rotem Buntstift (überschreibt Korrektur in T. 5 5/8 bis Taktende). rit. in T. 6 5/8 aus Korrektur in T. 5 5/8 bis Taktende eingerahmt mit rotem Bunstift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "4/8 bis letzte Note",
+ "comment": "Crescendogabel bis vorletzte Note, Decrescendogabel bis letzte Note überschreibt Crescendogabel bis vorletzte Note mit grünem Buntstift (siehe Textfassung 3 3/8 bis letzte Note)."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Ges.",
+ "position": "4. Note
1/8",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "5/8 bis Taktende",
+ "comment": "rit. - - - (siehe Textfassung 3) hinzugefügt über Ges. und Klav. o. mit schwarzer Tinte (überschreibt dort Geltungsstrichelung von Korrektur in T. 5 5/16 bis T. 6 Taktende). Siehe Korrektur in T. 6 3/8 bis Taktende."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "",
+ "position": "Taktanfang
Taktanfang",
+ "comment": "accell. - - - tempo I. hinzugefügt über Ges. sowie in T. 6 1–2/8 - - - accell. hinzugefügt überKlav. o. mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "2–6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} zu 2/8, Crescendogabel 2–4/8, Decrescendogabel 4–6/8 hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "4/16",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Klav. u.",
+ "position": "4/16
4/16",
+ "comment": "Bogen geändert zu zwei Bögen in T. 7 4–12/16 und T. 8 1–4/16 (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "5–8/16",
+ "comment": "Decrescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Ges.",
+ "position": "4/8
1/4",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "9–12/16",
+ "comment": "Crescendogabel hinzugefügt mit grünem Buntstift (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[p]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "1.–5. Note",
+ "comment": "{{ref.getGlyph('[p]')}} (siehe Textfassung 3), Crescendogabel 1.–3. Note, Decrescendogabel 3.–5. Note hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1/16",
+ "comment": "Sechzehntelpause (siehe Textfassung 3) auf Rasur. Ante correcturam: Achtelnote a."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "2/16",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2.–5. Note",
+ "comment": "Zunächst {{ref.getGlyph('[mp]')}}, Crescendogabel 2.–3. Note, Decrescendogabel 4.–5. Note hinzugefügt, dann {{ref.getGlyph('[mp]')}} geändert zu {{ref.getGlyph('[p]')}} mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "11/16",
+ "comment": "{{ref.getGlyph('[p]')}} hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "6. Note",
+ "comment": "Triolische Achtelpause (wie Textfassung 3) auf Rasur. Ante correcturam vermutlich Achtelnote f1."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "7.–8. Note",
+ "comment": "{{ref.getGlyph('[mp]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "8
bis 9",
+ "system": "Ges.",
+ "position": "8. Note
3/8",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1–3/8",
+ "comment": "{{ref.getGlyph('[p]')}}, Crescenodgabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "1.–2. Note",
+ "comment": "{{ref.getGlyph('[mf]')}}, Decrescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "1.–5. Note",
+ "comment": "Bogen gestrichen mit schwarzer Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "1.–4. Note",
+ "comment": "{{ref.getGlyph('[p]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "4.–7. Note",
+ "comment": "{{ref.getGlyph('[p]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[f]')}} hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4.–8. Note",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "13/16",
+ "comment": "Sechzehntelnote cis2/cis3 überschrieben zu Sechzehntelpause mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "14/16",
+ "comment": "{{ref.getGlyph('[f]')}} hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "gis1 (siehe Textfassung 3) auf Rasur. Ante correcturam: vermutlich as1."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Ges.",
+ "position": "letzte Note
6/8",
+ "comment": "Bogen hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "{{ref.getGlyph('[ff]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "3/16",
+ "comment": "{{ref.getGlyph('[f]')}} hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "5/16–20/32",
+ "comment": "{{ref.getGlyph('[ff]')}}, Crescendogabel hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "5/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "7/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Tenutostriche hinzugefügt mit schwarzer Tinte (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "17–20/32",
+ "comment": "Bogen überschrieben mit Bogen zu 5/16–20/32 (siehe Textfassung 3)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "19/32",
+ "comment": "{{ref.getGlyph('[b]')}} hinzugefügt mit Bleistift."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Fc_corr",
+ "label": "Korrekturen in Fc (mit Bleistift, Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1 und {{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "2
bis 4",
+ "system": "Ges.",
+ "position": "1/4
2/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1 und {{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu cis1 und {{ref.getGlyph('[a]')}} zu e1 hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1 und {{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu e2 hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "4
bis 6",
+ "system": "Ges.",
+ "position": "4/8
6/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu h hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu b hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu b hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2–5/8",
+ "comment": "Crescendogabel (zusätzlich zu Gabel 2–4/8) hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} e rasiert."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu a hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu e1 hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "Auf Rasur. Ante correcturam: e2/a2/cis2?"
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu f2 hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c2/e2/c3 hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu cis1 hinzugefügt."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Ges.",
+ "position": "4/8
2/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu cis3 hinzugefügt."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Ges.",
+ "position": "6/8
2/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c3 und {{ref.getGlyph('[b]')}} zu es3 hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "ruhig hinzugefügt."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Ges.",
+ "position": "4/8
6/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu es hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Achtelfähnchen überschrieben zu Balken."
+ },
+ {
+ "measure": "11",
+ "system": "",
+ "position": "2/8",
+ "comment": "rit. hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2–6/8",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu h hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Derescendogabel hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen und Decrescendogabel hinzugefügt."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1295,6 +4155,414 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Gb_corr",
+ "label": "Korrekturen in Gb (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 3."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Langsam und, und gestrichen."
+ },
+ {
+ "measure": "1–3",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasuren. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Viertelnote (siehe Textfassung 2) geändert zu Achtelnote, Achtelpause."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "1.–2., 5.–6. Note",
+ "comment": "Zwei Achtelnoten (siehe Textfassung 2) geändert zu punktierte Achtelnote, Sechzehntelnote."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Auf Rasuren. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich dis1–e1–gis1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Auf Rasur. Ante correcturam: zwei Achtelnoten (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich cis2 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "4.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: zwei Achtelnoten (siehe Textfassung 2)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Rasuren. Ante correcturam: vermutlich wie Textfassung 2."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur. Ante correcturam: zwei Achtelnoten (siehe Textfassung 2)."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "Rasur. Ante correcturam: vermutlich f1/a1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "Rasur. Ante correcturam: vermutlich e1/a1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "4. Note",
+ "comment": "Unterstimmenschicht auf Rasur. Ante correcturam: vermutlich Viertelnote, Achtelnote d (siehe Textfassung 2)."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Klav. u.",
+ "position": "4. Note
1/4",
+ "comment": "Bogen rasiert (siehe Textfassung 2)."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Gc_corr",
+ "label": "Korrekturen in Gc",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 2. Abweichungen der Grundschicht von Gc zu dieser Textfassung sind mit dem Vermerk „sic“ gekennzeichnet."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Zart bewegt hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav. o.",
+ "position": "1.–5. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Ped[.] - - - [Pedal-Aufhebung] hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "1–4/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu f hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[#]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "Text: trittst auf Rasur. Ante correcturam: vermutlich Großschreibung."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "(2–4/4)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Text: mit auf Rasur. Ante correcturam: vermutlich Großschreibung."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "7.–8. Note",
+ "comment": "Zwei Achtelnoten (siehe Textfassung 1) geändert zu punktierter Achtelnote, Sechzehntelnote."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "7–8/8",
+ "comment": "Ped[.] - - - hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "(1/4)",
+ "comment": "sic: zwei Achtelnoten es1/ges1–d1/f1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "äußerst zart hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Fermatenzeichen und quasi fermata hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "(3/4)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1–4/8",
+ "comment": "Tenutostriche hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "3/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Klav.",
+ "position": "5/16
2/8",
+ "comment": "Ped[.] - - - hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "8/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} korrigiert zu {{ref.getGlyph('[ppp]')}} mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "13/32–6/8",
+ "comment": "Auf Tektur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "19/32",
+ "comment": "{{ref.getGlyph('[a]')}} zu d2 mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "10/16–24/32",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "2/4",
+ "comment": "rit[.] hinzugefügt mit Bleistift, Geltungsstrichelung mit schwarzer Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "letzte Note",
+ "comment": "Pedal-Aufhebung gestrichen mit Bleistift."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "sehr ruhig gestrichen mit schwarzer Tinte.
sehr ruhig hinzugefügt mit Bleistift, gestrichen mit Bleistift.
Langsamer | als zu Beginn hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1/8 bis 1. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} zu g1 hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "2/8–5/8",
+ "comment": "sic: Bogen bis 7/8. Bogen gestrichen und geändert zu Bogen von 2–4/8 mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "3.–6. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "5. Note bis 7/8",
+ "comment": "Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "5. Note",
+ "comment": "Staccatopunkt hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "6. Note",
+ "comment": "Tenutostrich hinzugefügt mit roter Tinte.
{{ref.getGlyph('[a]')}} zu f2 nachgezogen mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "nach 6/8",
+ "comment": "Bassschlüssel hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "(1/2)",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "gis neben dem Notenkopf hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu h hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Zwei Achtelnoten (siehe Textfassung 1) geändert zu punktierter Achtelnote, Sechzehntelnote."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift, nachgezogen mit schwarzer Tinte."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1378,6 +4646,198 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_H_corr1",
+ "label": "Korrekturen 1 in H (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „An Bachesranft“ M 135: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "5/16",
+ "comment": "Auf Rasur. Ante correcturam: gis2 in Klav. o.; Klav. u. möglicherweise Viertelpause."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "(Redundante) Taktvorzeichnung 3/4 (siehe Textfassung 1) gestrichen."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich es1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "ais auf Rasur. Ante correcturam: vermutlich b (siehe Textfassung 1)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o",
+ "position": "2. Note bis 4/8",
+ "comment": "Unterstimmenschicht: Bogen von cis1 zu es1 rasiert."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "ais und Tenutostrich auf Rasur. Ante correcturam: vermutlich b (siehe Textfassung 1)."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "1.–2. Note",
+ "comment": "Bogen rasiert."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "3. Note",
+ "comment": "8va-Linie bis zwischen 3–4/8 nach 3. Note gestrichen."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "dis1 mit Tenutostrich auf Rasur. Siehe Korrekturen 2."
+ },
+ {
+ "measure": "12",
+ "system": "",
+ "position": "2. TH",
+ "comment": "Geltungsstrichelung von Rit. auf Rasur."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_H_corr2",
+ "label": "Korrekturen 2 in H (mit Bleistift und Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „An Bachesranft“ M 135: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "",
+ "comment": "Metronomzahl 90 hinzugefügt mit grünem Buntstift (Hs. ?)."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Vertikaler Strich zu Klav. hinzugefügt mit grünem Buntstift (zur Verdeutlichung des Untersatzes) (Hs. ?)."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Vertikaler Strich zu Klav. hinzugefügt mit grünem Buntstift (zur Verdeutlichung des Untersatzes) (Hs. ?)."
+ },
+ {
+ "measure": "4",
+ "system": "Klav.",
+ "position": "1/16",
+ "comment": "Tempo über Klav. o. eingekreist mit grünem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "(Zusätzliche) Decresendogabel hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Crescendogabel 2. Note bis Taktende gestrichen mit rotem Buntstift und geändert zu Crescendogabel 2/4 bis Taktende."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Zählzeiten 1 und 2 mit verdeutlichenden Klammern über dem System hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "Vertikaler Strich zu Klav. o. hinzugefügt mit grünem Buntstift (zur Verdeutlichung des Untersatzes) (Hs. ?)."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Tenutostrich hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} geändert zu {{ref.getGlyph('[pp]')}} mit rotem Buntstift."
+ },
+ {
+ "measure": "9
bis 10",
+ "system": "Ges.",
+ "position": "2/8
1/4",
+ "comment": "Decrescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "fis1 geändert zu ges1 mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1/4",
+ "comment": "gis1 geändert zu as1 mit Bleistift."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "dis1 überschrieben zu es1 mit Bleistift. Siehe Textfassung 3."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. u.",
+ "position": "1. Note",
+ "comment": "Staccato-Punkt hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "nach 3/8",
+ "comment": "Zäsurzeichen hinzugefügt mit grünem Buntstift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1475,6 +4935,198 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_I_corr1",
+ "label": "Korrekturen 1 in I (mit schwarzer Tinte [Text: rote Tinte] ggf. auf Rasur)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Text: Großschreibung Kir-(schen[-]flor) überschrieben zu kir-(schen[-]flor) mit roter Tinte."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "5–6/8",
+ "comment": "Auf Rasur. Ante correcruram: vermutlich cis–Cis (siehe Textfassung 1)."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1.–3. Note",
+ "comment": "Oberstimmenschicht: Auf Rasur. Ante correcruram: vermutlich zwei Achtelnoten es1/ges1–d/f (siehe Textfassung 1)"
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "6.–9. Note",
+ "comment": "Decrescendogabel nachgezogen."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Fließend über Ges. auf Rasur. (Über Klav.: ohne Rasur. Siehe TkA zu T. 6 bis 7.)"
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "4.–5. Note",
+ "comment": "Bogen auf Rasur. Ante correcturam: Staccatopunkte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "ges1 auf Rasur. Ante correcturam: vermutlich fis1 (siehe Textfassung 1)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich H/gis (siehe Textfassung 1)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} geändert zu {{ref.getGlyph('[pp]')}}."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "5/8",
+ "comment": "Auf Rasur."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_I_corr2",
+ "label": "Korrekturen 2 in I (mit Bleistift und Buntstift)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Im Morgentaun“ M 136: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Pedal-Aufhebung hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "vor 1
bis 1",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Crescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "2.–4. Note",
+ "comment": "Decrescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "5.–6. Note",
+ "comment": "Crescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "Decrescendogabel hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "nach 2. Note",
+ "comment": "Vertikaler Strich hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "nach 5. Note",
+ "comment": "Vertikaler Strich hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} überschrieben zu {{ref.getGlyph('[b]')}} mit grünem Buntstift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "nach 1/4",
+ "comment": "Zäsurzeichen hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2. Note",
+ "comment": "Strich zu Klav. hinzugefügt mit rotem Buntstift (zur Verdeutlichung des Untersatzes)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "8. Note",
+ "comment": "Strich zu Klav. u. hinzugefügt mit Bleistift (zur Verdeutlichung des Untersatzes)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "8. Note",
+ "comment": "rechte Hand hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Strich zu Klav. hinzugefügt mit rotem Buntstift (zur Verdeutlichung des Untersatzes)."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "8. Note",
+ "comment": "l. H. hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "6/16",
+ "comment": "Pedal-Aufhebung hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "5/8",
+ "comment": "Fermatenzeichen hinzugefügt mit Bleistift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1558,6 +5210,40 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_J_corr",
+ "label": "Korrekturen in J",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Kahl reckt der Baum“ M 137: Textfassung 4."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "+ über dem System hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} geändert zu {{ref.getGlyph('[p]')}} mit rotem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "5. Note bis Taktende",
+ "comment": "Decrescendogabel hinzugefügt mit rotem Buntstift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
diff --git a/src/assets/data/edition/series/1/section/5/op4/intro.json b/src/assets/data/edition/series/1/section/5/op4/intro.json
index 9153e55e36..1d26375a80 100644
--- a/src/assets/data/edition/series/1/section/5/op4/intro.json
+++ b/src/assets/data/edition/series/1/section/5/op4/intro.json
@@ -1,8 +1,7 @@
{
"intro": [
{
- "id": "op4",
- "content": []
+ "id": "op3+4"
}
]
-}
\ No newline at end of file
+}
diff --git a/src/assets/data/edition/series/1/section/5/op4/source-description.json b/src/assets/data/edition/series/1/section/5/op4/source-description.json
index 37be3fe4ba..53250acdc3 100644
--- a/src/assets/data/edition/series/1/section/5/op4/source-description.json
+++ b/src/assets/data/edition/series/1/section/5/op4/source-description.json
@@ -163,6 +163,376 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_A_corr",
+ "label": "Korrekturen in A",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf Eingang („Welt der Gestalten“) M 138: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1–16",
+ "system": "",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren mit schwarzer und teilweise roter Tinte. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "1",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "5/4",
+ "comment": "Unterstimmenschicht: Viertelpause hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "2",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "5. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "7. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu g1/h1 hinzugefügt mit Bleistift, nachgezogen mit roter Tinte."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. u.",
+ "position": "14/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu d überschreibt {{ref.getGlyph('[b]')}}."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1/e1 hinzugefügt mit Bleistift, nachgezogen mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu d1 hinzugefügt mit Bleistift, nachgezogen mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "1.–4. Note",
+ "comment": "Unterstimmenschicht: Ligaturbogen zu fis (siehe Textfassung 1) gestrichen mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "1. Pause",
+ "comment": "Unterstimmenschicht: Halbe Pause hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "11/8",
+ "comment": "Achtelpause nachgezogen mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "12/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "7/8, 8/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "1., 2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "4–7/4",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "8/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "vorletzte bis letzte Note",
+ "comment": "Bogenanfang zu Bogen bis T. 7 3. Note (siehe Textfassung 1) gestrichen und Staccatopunkte hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6
bis 7",
+ "system": "Klav. u.",
+ "position": "27/16
4/16",
+ "comment": "Bogen (siehe Textfassung1) gestrichen und geändert zu zwei Bögen T. 6 27–28/16, T. 7 1–2/16 sowie Staccatopunkte zu T. 7 34/16 mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "8.–11. Note",
+ "comment": "Bogen (siehe Textfassung 1) gestrichen sowie Staccatopunkt zu 9. Note und Bogen 10.–11. Note hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "2. Pause",
+ "comment": "Ligatur von 6/8 und Achteltriole e/g (siehe Textfassung 1) gestrichen und geändert zu Achteltriolenpause mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "14–17/16",
+ "comment": "Bogen gestrichen und geändert zu Staccatopunkten mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "18–23/16",
+ "comment": "Bogen (siehe Textfassung 1) gestrichen und geändert zu Bogen 18–20/16 und Staccatopunkten zu 21–23/16 mit roter Tinte."
+ },
+ {
+ "measure": "7
bis 8",
+ "system": "Klav.",
+ "position": "24/16
1/8",
+ "comment": "Bogen (siehe Textfassung 1) geändert zu zwei Bögen T. 7 24–26/16 und T. 7 27/16 bis T. 8 1/8."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Zuerst: etwas breiter (siehe Textfassung 1) hinzugefügt mit Bleistift.
Dann: gestrichen und geändert zu noch langsamer mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "3/8",
+ "comment": "Zuerst: Pedal-Aufhebung zu 1/8.
Dann: gestrichen und versetzt zu 2/8 mit roter Tinte.
Dann: gestrichen und versetzt zu 3/8 mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} gestrichen mit Bleistift."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "4/8",
+ "comment": "Ped. hinzugefügt mit roter Tinte. (Siehe Korrektur zu 9/8.)"
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav.",
+ "position": "9/8",
+ "comment": "Pedal-Aufhebung hinzugefügt mit roter Tinte. (Siehe Korrektur zu 4/8.)"
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu g hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "",
+ "position": "4/4",
+ "comment": "wie zu Anfang unterstrichen mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "8/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu D1 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "10/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "vorletzte Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[b]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "8. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "2. Note, 5/8, 6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "",
+ "position": "6/4 bis Taktende",
+ "comment": "rit - - - gestrichen mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12, 13",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Klav. o.",
+ "position": "4. Note
1. Note",
+ "comment": "Unterstimmenschicht: Ligaturbogen zu fis hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "vorletzte Note",
+ "comment": "Oberstimmenschicht: {{ref.getGlyph('[a]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14–15",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Punktierte Ganze Pause, Viertelpause (T. 14), Halbe Pause, punktierte Halbe Pause, Halbe Pause (T. 15) (siehe Textfassung 1) nach Hinzufügung der gestrichelten Teiltaktstriche (siehe Korrekturen T. 14 nach 3/4, T. 15 nach 4/4) zu Ganze Pause nach Teiltaktstrich in T. 14 und Streichung der letzten Pause in T. 15 (sic: siehe TkA) mit rotem Buntstift."
+ },
+ {
+ "measure": "14",
+ "system": "",
+ "position": "nach 4/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Klav. o. Oberstimmenschicht 2. Note: Viertelnote {{ref.getGlyph('[a]')}}f1 mit Ligatur zu 3. Note hinzugefügt mit roter Tinte. Klav. o. Unterstimmenschicht und Klav. u.: Punktierung zu 1. Note hinzugefügt und Punktierung zu 2. Note (siehe Textfassung 1) gestrichen mit roter Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "",
+ "position": "nach 3/4",
+ "comment": "Gestrichelter Teiltaktstrich hinzugefügt mit roter Tinte."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -510,6 +880,518 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Ba_corr1",
+ "label": "Korrekturen 1 in Ba (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „Noch zwingt mich Treue“ M 139: Textfassung 2."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1
bis 2",
+ "system": "Ges.",
+ "position": "1. Note
2/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "10/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "2–3",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "2
bis 5",
+ "system": "Ges.",
+ "position": "1. Note
2/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "5",
+ "system": "Klav.",
+ "position": "(2/4)",
+ "comment": "{{ref.getGlyph('[sf]')}} auf Rasur. Ante correcturam: vermutlich {{ref.getGlyph('[sfz]')}} (siehe Textfassung 1)."
+ },
+ {
+ "measure": "5
bis 7",
+ "system": "Ges.",
+ "position": "6/8
2. Note",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "7
bis 9",
+ "system": "Ges.",
+ "position": "6/16
4/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[b]')}} überschreibt {{ref.getGlyph('[a]')}}."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "letzte Pause",
+ "comment": "Triolische Viertelpause überschreibt Achtelpause (siehe Textfassung 1)."
+ },
+ {
+ "measure": "10
bis 12",
+ "system": "Ges.",
+ "position": "6/8
6/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "2/8–5/16",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "13",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "13
bis 15",
+ "system": "Ges.",
+ "position": "1. Note
4/8",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "15",
+ "system": "Klav. o.",
+ "position": "3/8–6/8",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ },
+ {
+ "measure": "15
bis 17",
+ "system": "Ges.",
+ "position": "3. Note
3. Note",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "16
bis 18",
+ "system": "Klav. u.",
+ "position": "vorletzte Note
1/4",
+ "comment": "Bogen (siehe Textfassung 1) teilweise rasiert und geändert zu zwei Bögen T. 16 vorletzte Note bis T. 17 2/8 sowie T. 17 3/8 bis T. 18 1/4."
+ },
+ {
+ "measure": "17",
+ "system": "Klav.",
+ "position": "4/16–(7/16)",
+ "comment": "Punktierte Achtelpause in Klav. o. und Achtelpause in Klav. u. auf Rasur."
+ },
+ {
+ "measure": "17
bis 18",
+ "system": "Ges.",
+ "position": "4. Note
5. Note",
+ "comment": "Bogen (siehe Textfassung 1) rasiert."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: vermutlich wie Textfassung 1."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Ba_corr2",
+ "label": "Korrekturen 2 in Ba (mit Bleistift)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „Noch zwingt mich Treue“ M 139: Textfassung 2."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1
bis 1",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 3."
+ },
+ {
+ "measure": "3",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 3."
+ },
+ {
+ "measure": "3
bis 4",
+ "system": "Klav.",
+ "position": "letzte Note
letzte Note",
+ "comment": "Decrescendogabel T. 4 1.–2. Note und Crescendogabel 3. – 4. Note (siehe Textfassung 3) überschreiben Decrescendogabel."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "6/16",
+ "comment": "{{ref.getGlyph('[ppp]')}} gestrichen."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Korrekturskizzen zu Textfassung 3."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "5–6/8",
+ "comment": "Korrekturskizzen zu Textfassung 3."
+ },
+ {
+ "measure": "13
bis 16",
+ "system": "Klav. o.",
+ "position": "8/16
2. Note",
+ "comment": "Bogen geändert zu zwei Bögen in T. 13 8/16–6/8 und T. 14 1. Note bis T. 16 2. Note."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "c gestrichen (siehe Textfassung 3)."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "c/a gestrichen (siehe Textfassung 3)."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. u.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} gestrichen und ersetzt durch {{ref.getGlyph('[p]')}}. Siehe TkA."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. u.",
+ "position": "1–2/8",
+ "comment": "Decrescendogabel hinzugefügt (siehe Textfassung 3)."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. u.",
+ "position": "4–5/8",
+ "comment": "Crescendogabel hinzugefügt (siehe Textfassung 3)."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. u.",
+ "position": "1/4",
+ "comment": "F gestrichen (siehe Textfassung 3)."
+ },
+ {
+ "measure": "20",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu gis hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Bb_corr",
+ "label": "Korrekturen in Bb (mit Bleistift)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „Ja Heil und Dank dir“ M 140: Textfassung 1."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "1. Pause",
+ "comment": "Viertelpause (siehe Textfassung 2) überschreibt Achtelpause."
+ },
+ {
+ "measure": "vor 1
bis 2",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2.–3. Note",
+ "comment": "Fähnchen überschreiben Balkennotation."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Klav.",
+ "position": "2/4",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Achtelnote b1 geändert zu Sechzehntelnote e2 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang bis 4/4",
+ "comment": "rit[.] - - - hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/4",
+ "comment": "Fermate hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "14/16",
+ "comment": "Fermate hinzugefügt (siehe Textfassung 2 7/8)."
+ },
+ {
+ "measure": "9",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "tempo hinzugefügt (siehe Textfassung 2 T. 8 15/16)."
+ },
+ {
+ "measure": "9",
+ "system": "Klav.",
+ "position": "1/4–6/8",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "1/4–4/8",
+ "comment": "8va hinzugefügt (sic: bis 4/8; siehe Textfassung 2 1/4–3/8)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "1. Note bis Taktende",
+ "comment": "Ped[.] - - - hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "5–6/8",
+ "comment": "Auf Rasur mit schwarzer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "6/8",
+ "comment": "Auf Rasur mit schwarzer Tinte. Nach Takt- und Akkoladenende Skizze Viertelnote {{ref.getGlyph('[a]')}}e/g/{{ref.getGlyph('[b]')}}fes1 (?) mit Bleistift."
+ },
+ {
+ "measure": "12",
+ "system": "",
+ "position": "Taktanfang bis 2/8",
+ "comment": "rit[.] - - - hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Zwei Achtelnoten geändert zu Triolische Viertelnote gis1, Achtelnote e1 (siehe Textfassung 2). Dann Triolenziffer gestrichen."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "(1–2/4)",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Klav.",
+ "position": "2. Note
5/16",
+ "comment": "Ped[.] - - - bis Ende T. 13 (Akkoladenwechsel) und Pedal-Aufhebung in T. 14 5/16 hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "10.–12. Note",
+ "comment": "Decrescendogabel hinzugefügt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "Korrekturskizze mit blauer Tinte: zwei Viertelnoten d1 (siehe Textfassung 2)."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o.",
+ "position": "2–4/16",
+ "comment": "< > (siehe Textfassung 2) hinzugefügt."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "6/16, 4/8",
+ "comment": "es (siehe Textfassung 2) hinzugefügt mit blauer Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "5/8",
+ "comment": "Achtelnote durch Einkresiung getilgt (siehe Textfassung 2)."
+ },
+ {
+ "measure": "14",
+ "system": "Klav.",
+ "position": "12/16 bis letzte Note",
+ "comment": "Ped[.] - - - (siehe Textfassung 2) hinzugefügt."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "As ersetzt cis mit blauer Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Korrekturskizzen zu Textfassung 2."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Bc_corr1",
+ "label": "Korrekturen 1 in Bc (mit schwarzer Tinte ggf. auf Rasur)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „So ich traurig bin“ M 141: Textfassung 1."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "4–5/16",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1 rasiert."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Auf Rasur. Ante correcturam: Viertelnote Ges1, Achtelnote F1 (?)."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[b]')}}es1 überschreibt {{ref.getGlyph('[#]')}}dis1."
+ },
+ {
+ "measure": "13
bis 14",
+ "system": "Ges.",
+ "position": "2. Note
1/8",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "2.–3. Note",
+ "comment": "Auf Rasur."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "3. Note als punktierte Achtelnote auf Rasur, 4. Note uneindeutig mit Achtel- oder Sechzehntelfähnchen. Siehe Korrekturen 2 und TkA."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Bc_corr2",
+ "label": "Korrekturen 2 in Bc (mit Bleistift)",
+ "description": ["Die Beschreibung der Korrekturen bezieht sich auf „So ich traurig bin“ M 141: Textfassung 1."],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "4",
+ "system": "",
+ "position": "nach 4/16, vor 3/8",
+ "comment": "Gestrichelter Taktstrich hinzugefügt. Siehe Textfassung 2 T. 4–5."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "(2/4)",
+ "comment": "Korrekturskizze zu Textfassung 2 (T. 5)."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Punktierung der 1. Note sowie Balkierung der 1. Note und 3. Note mit der 2. Note und der 4. Note jeweils als Sechzehntelnote hinzugefügt. Siehe Korrekturen 1 und TkA."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -777,6 +1659,600 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_Da_corr",
+ "label": "Korrekturen in Da (mit Bleistift; Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf Eingang („Welt der Gestalten“) M 138: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "1
bis 2",
+ "system": "Ges.",
+ "position": "4/8
1/8",
+ "comment": "Bogen gestrichen."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "5. Note (9/8)",
+ "comment": "{{ref.getGlyph('[a]')}} zu g/c1 hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "13/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu fis1 hinzugefügt."
+ },
+ {
+ "measure": "1",
+ "system": "",
+ "position": "15/8",
+ "comment": "rit[.] über der Akkolade hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt und geändert zu {{ref.getGlyph('[p]')}}."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "4.–6. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "5/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "8.–10. Note",
+ "comment": "Triolenziffer hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "2/8, 7/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "Verlängerung der 8va-Geltungslinie hinzugefügt. Db: Akkoladenwechsel nach T. 5."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "1/8–2/4",
+ "comment": "Zwei Achtelnoten, eine Viertelnote Cis2 mit Ligatur 2/8 – 2/4 sowie Ligaturbogen zu T. 6 1/8 hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "8–9/8",
+ "comment": "Ligaturbögen h/d–h/d hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "21/16",
+ "comment": "{{ref.getGlyph('[b]')}} zu es1 hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "24/16",
+ "comment": "{{ref.getGlyph('[a]')}} zu c/e hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "8.–10. Note",
+ "comment": "Triolenziffer hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. u.",
+ "position": "28/16",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "vor 7",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Violinschlüssel überschreibt Bassschlüssel."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "3.–5. Note",
+ "comment": "Triolenziffer hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "8.–10. Note",
+ "comment": "Triolenziffer hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "10/16",
+ "comment": "rit. über der Akkolade hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "4/8, 9/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "14/16",
+ "comment": "rit[.] über der Akkolade hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "5/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu f hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "13–14/8",
+ "comment": "Oberstimmenschicht: Ligaturbögen gestrichen. Siehe TkA."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "5–6/8",
+ "comment": "Ligaturbögen e1/b1–e1/b1 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "6/8–10/8",
+ "comment": "Text Dä-m̅er der frü[-]he hinzugefügt (Hs.?)."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "8/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu a1/d2/g2 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "12/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu d2/g2 und {{ref.getGlyph('[#]')}} zu cis2 hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "5/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu es1 und {{ref.getGlyph('[a]')}} zu h1 hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/8–6/4",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "7/8",
+ "comment": "fis1 überschreibt ais1."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/4",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "13/8",
+ "comment": "rit[.] über der Akkolade hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "1/4",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Bogen hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} zu g1 überschreibt {{ref.getGlyph('[#]')}} zu gis1."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "{{ref.getGlyph('[b]')}} überschreibt {{ref.getGlyph('[a]')}}."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o.",
+ "position": "3. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[#]')}} zu cis1 hinzugefügt."
+ }
+ ]
+ }
+ ]
+ },
+ {
+ "id": "source_Db_corr",
+ "label": "Korrekturen in Db (mit Bleistift; Hs. Webern)",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Noch zwingt mich Treue“ M 139: Textfassung 1."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "",
+ "comment": "Langsam hinzugefügt."
+ },
+ {
+ "measure": "vor 1
bis 2",
+ "system": "Ges.",
+ "position": "1. Note
2/8",
+ "comment": "Bogen gestrichen."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt.
{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "zögernd hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "zögernd hinzugefügt."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3/4",
+ "comment": "Zuerst Crescendogabel hinzugefügt, dann gestrichen."
+ },
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1–2/8, 2–3/8",
+ "comment": "Bögen hinzugefügt."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "",
+ "position": "(2/4)
Taktende",
+ "comment": "Zuerst rit. zu Anfang T. 4 über Klav. hinzugefügt, dann gestrichen und geändert zu rit[.] - - -."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Ges.",
+ "position": "4/8
2/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "noch | langsamer hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "(2/4)",
+ "comment": "tempo über Klav. hinzugefügt."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "{{ref.getGlyph('[#]')}} zu Cis. {{ref.getGlyph('[a]')}} zu A/c hinzugefügt."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Tempo hinzugefügt, dann gestrichen. Siehe Korrektur zu T. 7 2/4."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "2–4/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu As, {{ref.getGlyph('[a]')}} zu d/g hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu b, {{ref.getGlyph('[a]')}} zu d1 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "5. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu des1 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1/e1 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "6. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu c2/e2 hinzugefügt."
+ },
+ {
+ "measure": "10",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt.
{{ref.getGlyph('[pp]')}} und > hinzugefügt."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Ges.",
+ "position": "6/8
2. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt.
[xx] (?) über der Note hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4–6/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu as2 hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu as2 hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[f]')}} und ten. hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "6/16",
+ "comment": "{{ref.getGlyph('[a]')}} zu c1/e1 hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "8/16",
+ "comment": "{{ref.getGlyph('[#]')}} zu Fis1/Fis hinzugefügt."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu a hinzugefügt."
+ },
+ {
+ "measure": "14
bis 15",
+ "system": "Ges.",
+ "position": "2/8
4/8",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "15",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "(Zusätzliches) {{ref.getGlyph('[p]')}} und [xx] (?) über dem System hinzugefügt."
+ },
+ {
+ "measure": "15
bis 17",
+ "system": "",
+ "position": "(3/4)
Taktende",
+ "comment": "rit[.] - - - hinzugefügt."
+ },
+ {
+ "measure": "16",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu h1/h2, {{ref.getGlyph('[b]')}} zu es2 hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Zäsurzeichen hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Ges.",
+ "position": "4. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Ges.",
+ "position": "4.–6. Note",
+ "comment": "Crescendogabel hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. u.",
+ "position": "3/4",
+ "comment": "Oberstimmenschicht: {{ref.getGlyph('[a]')}} zu d hinzugefügt."
+ },
+ {
+ "measure": "17",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "Oberstimmenschicht: {{ref.getGlyph('[#]')}} zu gis hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "sehr langsam hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Ges.",
+ "position": "1.–3. Note",
+ "comment": "Decrescendogabel hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. o.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[a]')}} hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "rit[.] unter der Note hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. u.",
+ "position": "3/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu d/f hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} hinzugefügt."
+ },
+ {
+ "measure": "18",
+ "system": "Klav. o.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu a hinzugefügt."
+ },
+ {
+ "measure": "20",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[#]')}} zu gis/cis1 hinzugefügt."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -890,7 +2366,341 @@
"measureNumbers": [],
"instrumentations": [],
"annotations": [],
- "contents": []
+ "contents": [],
+ "corrections": [
+ {
+ "id": "source_GH_corr",
+ "label": "Korrekturen in GH",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf „Ihr tratet zu dem Herde“ M 142: Textfassung 2."
+ ],
+ "comments": [
+ {
+ "blockHeader": "",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Sehr hinzugefügt vor Langsam ({{ref.getGlyph('[Viertelnote]')}}) mit schwarzer Tinte."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "vor 1",
+ "system": "Klav.",
+ "position": "1.–2. Note",
+ "comment": "Crescendogabel hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "1",
+ "system": "Klav.",
+ "position": "1.–2. Note",
+ "comment": "Decrescendogabel hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "2",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 3/4 hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "2
bis 3",
+ "system": "Klav. u",
+ "position": "letzte Note
2/8",
+ "comment": "Unterstimmenschicht: Bogen hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3
bis 5",
+ "system": "Klav. u.",
+ "position": "1/4
6. Note",
+ "comment": "Oberstimmenschicht: Bogen (siehe Textfassung 1) gestrichen mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav.",
+ "position": "3.–5. Note",
+ "comment": "Bögen über und unter dem System hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "letzte Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu A/c hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Ges., Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[mf]')}} hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "2.–3. Note",
+ "comment": "Bögen über und unter dem System hinzugefügt mit roter Tinte.
Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Klav. u.",
+ "position": "2/4
2/8",
+ "comment": "Notation wie Textfassung 1 geändert zu Textfassung 2 mit roter Tinte."
+ },
+ {
+ "measure": "4
bis 5",
+ "system": "Ges.",
+ "position": "4/8
1/8",
+ "comment": "Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Ges., Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 4/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "1.–4. Note",
+ "comment": "Oberstimmenschicht: Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3.–4. Note",
+ "comment": "Unterstimmenschicht: Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "2.–6. Note",
+ "comment": "Unterstimmenschicht: Bogen hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3/4 bis 6. Note",
+ "comment": "Oberstimmenschicht: Ligaturbögen zu 6. Note gestrichen,
6. Note gestrichen und korrigiert zu Achtelpause mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "3/4 bis 6. Note",
+ "comment": "Unterstimmenschicht: Decrescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. u.",
+ "position": "6. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[a]')}} zu A hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "5
bis 8",
+ "system": "Klav.",
+ "position": "vorletzte Note
1/4",
+ "comment": "Bogen (siehe Textfassung 1) in T. 6–8 gestrichen mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "bewegter hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1/4",
+ "comment": "Arpeggioschlangen hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu g1 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 3/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu c2 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. u.",
+ "position": "2/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu G/c hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "7",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu c2 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1/4",
+ "comment": "{{ref.getGlyph('[a]')}} zu G/c hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "8
bis 12",
+ "system": "Klav. o.",
+ "position": "2/4
1/8",
+ "comment": "Bogen (siehe Textfassung 1) gestrichen in T. 9–11."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 3/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. u.",
+ "position": "2/4",
+ "comment": "express. hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1/4",
+ "comment": "express. hinzugefügt mit roter Tinte.
Arpeggioschlange hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "1–2/4",
+ "comment": "Crescendogabel hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "2/4",
+ "comment": "Arpeggioschlange hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Tempo I. über Akkolade hinzugefügt mit roter Tinte. Über Klav. o. I. nach tempo hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "1/8–4/16",
+ "comment": "Fähnchen (siehe Textfassung 1) überschrieben zu Balken mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "3–4/8",
+ "comment": "Oberstimmenschicht: Ligatur aus zwei zusammengebalkten Achtelnoten a1 (siehe Textfassung 1) geändert zu Viertelnote a1. Unterstimmenschicht: Achtelpause zu 3/8 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "(4–5/8)",
+ "comment": "Oberstimmenschicht: Decrescendogabel hinzugefügt mit roter Tinte. Unterstimmenschicht: Ligatur aus 2 Achtelnoten h/d1 (siehe Textfassung 1) geändert zu Viertelnote h/d1 mit roter Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "Unterstimmenschicht: Achtelpause hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "12
bis 13",
+ "system": "Ges.",
+ "position": "letzte Note
3/8",
+ "comment": "Bogen von T. 12 1. Note (siehe Textfassung 1) geändert zu Bogen von T. 12 letzte Note mit roter Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "sehr langsam geändert zu sehr ruhig mit roter Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "",
+ "comment": "Notation wie Textfassung 1 geändert zu Textfassung 2 mit roter Tinte."
+ },
+ {
+ "measure": "14
bis 15",
+ "system": "",
+ "position": "Taktanfang
Taktende",
+ "comment": "rit. - - - hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 2/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[b]')}} zu b1, {{ref.getGlyph('[a]')}} zu h/f1 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o.",
+ "position": "2. Note",
+ "comment": "{{ref.getGlyph('[a]')}} zu g1 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav.",
+ "position": "(3/8)",
+ "comment": "Ped. hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav.",
+ "position": "Taktanfang",
+ "comment": "Taktartvorzeichnung 3/4 hinzugefügt mit roter Tinte."
+ },
+ {
+ "measure": "15",
+ "system": "Klav. u.",
+ "position": "1.–4. Note",
+ "comment": "1.–2. Note auf Rasur. 3.–4. Note: D1 gestrichen und geändert zu H mit roter Tinte. Ante correcturam: wie Textfassung 1."
+ }
+ ]
+ }
+ ]
+ }
+ ]
}
},
{
@@ -1676,6 +3486,396 @@
}
]
}
+ ],
+ "corrections": [
+ {
+ "id": "source_I_corr",
+ "label": "Korrekturen in I",
+ "description": [
+ "Die Beschreibung der Korrekturen bezieht sich auf die Textfassungen der Werkedition von Fünf Lieder nach Gedichten von Stefan George op. 4"
+ ],
+ "comments": [
+ {
+ "blockHeader": "I Eingang („Welt der Gestalten“) M 138: Textfassung 3",
+ "blockComments": [
+ {
+ "measure": "1",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "Ruhevoll ({{ref.getGlyph('[Achtelnote]')}} = ca 58 <58>), 58 gestrichen mit Bleistift, <58> hinzugefügt mit schwarzer Tinte (Hs. Webern?)."
+ },
+ {
+ "measure": "1–13",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren. Ante correcturam: u. a. in der Regel Fähnchen bei Achtelnoten (wie Textfassung 2)."
+ },
+ {
+ "measure": "1–15",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren."
+ },
+ {
+ "measure": "2",
+ "system": "Klav. o.",
+ "position": "8/8",
+ "comment": "{{ref.getGlyph('[a]')}} zu h1 gestrichen mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "2/8",
+ "comment": "{{ref.getGlyph('[b]')}} geändert zu {{ref.getGlyph('[a]')}} mit Bleistift, {{ref.getGlyph('[a]')}} nachgezogen mit rotem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "weis-ser überschrieben zu weißer mit blauem Buntstift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. u.",
+ "position": "1. Pause",
+ "comment": "Auf Rasur, etwas unleserlich durch Papierbeschädigung bei Rasur. Daneben × und am linken Seitenrand Halbe Pause mit rotem Buntstift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. o.",
+ "position": "7/4",
+ "comment": "{{ref.getGlyph('[b]')}} zu es2 gestrichen mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} im System zu Klav. o. gestrichen und zwischen den Klav.-Systemen neu notiert mit schwarzer Tinte."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "vorletzte bis letzte Note",
+ "comment": "Silbentrennstrich bei [mar[-]]mor-nen hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "7",
+ "system": "Klav. o.",
+ "position": "9–12/16",
+ "comment": "Auf Tektur."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. u.",
+ "position": "1/8",
+ "comment": "Fortsetzung des Bogens von T. 7 Klav. o. (nach Seitenwechsel) hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[b]')}} zu e1 geändert zu {{ref.getGlyph('[a]')}} mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "12/8",
+ "comment": "molto espress. zwischen 7. und 8. Note gestrichen und neu notiert bei 12/8 mit schwarzer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "6/4",
+ "comment": "{{ref.getGlyph('[pp]')}} bei 13/8 gestrichen und neu notiert bei 6/4 mit schwarzer Tinte."
+ },
+ {
+ "measure": "11
bis 12",
+ "system": "Ges.",
+ "position": "13/8
2/8",
+ "comment": "Decrescendogabel T. 11 13/8 bis T. 12 1/8 über dem System gestrichen mit Bleistift. Decrescendogabel T. 13/8 bis T. 12 2/8 unter dem System möglicherweise dann hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "14",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Unterstimmenschicht: Fortsetzung (nach Seitenwechsel) eines Ligaturbogens zu fis hinzugefügt mit Bleistift. T. 13: Anfang nur eines Bogens (Ligatur- oder Legatobogen?)."
+ }
+ ]
+ },
+ {
+ "blockHeader": "II „Noch zwingt mich Treue“ M 139: Textfassung 3",
+ "blockComments": [
+ {
+ "measure": "4",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "({{ref.getGlyph('[a]')}}) gestrichen mit Bleistift."
+ },
+ {
+ "measure": "5",
+ "system": "Klav. o.",
+ "position": "1.–4. Note",
+ "comment": "Crescendo-, Decrescendogabel auf Rasur."
+ },
+ {
+ "measure": "5",
+ "system": "Ges.",
+ "position": "6/8",
+ "comment": "Mein geändert zu mein mit Bleistift."
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "2/8",
+ "comment": "Pedal-Aufhebung bei 1/4 gestrichen mit Bleistift und neu notiert bei 2/8 mit schwarzer Tinte."
+ },
+ {
+ "measure": "9",
+ "system": "Klav. u.",
+ "position": "4.–5. Note",
+ "comment": "Ligaturbogen zu G–G hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[p]')}} überschreibt Anfang der Crescendogabel, vermutlich hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "10
bis 11",
+ "system": "Ges.",
+ "position": "letzte Note
1/4",
+ "comment": "Silbenlängenstrich hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. o.",
+ "position": "6/8",
+ "comment": "{{ref.getGlyph('[a]')}} überschreibt {{ref.getGlyph('[a]')}}."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "1–2/8",
+ "comment": "Silbentrennstrich von An-ruf hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4–5/8",
+ "comment": "Silbentrennung von em-pfan[-gen] geändert zu emp-fan[-gen] mit blauem Buntstift."
+ },
+ {
+ "measure": "12",
+ "system": "Klav.",
+ "position": "letzte Note",
+ "comment": "Ende des Bogens über den Takt hinaus (vor Seitenwechsel) gestrichen und neu notiert bis letzte Note mit schwarzer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Ges.",
+ "position": "1.–4. Note",
+ "comment": "Crescendogabel auf Rasur."
+ },
+ {
+ "measure": "13",
+ "system": "Klav.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[f]')}} bei 1. Pause gestrichen und neu notiert bei 1. Note mit schwaruer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "6/16",
+ "comment": "{{ref.getGlyph('[b]')}} zu des3 überschreibt {{ref.getGlyph('[a]')}}, {{ref.getGlyph('[a]')}} zu a2 überschreibt {{ref.getGlyph('[b]')}} mit schwarzer Tinte."
+ },
+ {
+ "measure": "18",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Crescendogabel in Klav. o über dem System und in Klav. u. unter dem System gestrichen mit Bleistift, Gabel zwischen den Systemen vermutlich hinzugefügt mit schwarzer Tinte."
+ },
+ {
+ "measure": "19",
+ "system": "Klav.",
+ "position": "1/4",
+ "comment": "Decrescendogabel in Klav. o über dem System und in Klav. u. unter dem System gestrichen mit Bleistift, Gabel zwischen den Systemen vermutlich hinzugefügt mit schwarzer Tinte."
+ }
+ ]
+ },
+ {
+ "blockHeader": "III „Ja Heil und Dank dir“ M 140: Textfassung 2",
+ "blockComments": [
+ {
+ "measure": "vor 1",
+ "system": "Ges.",
+ "position": "1. Note",
+ "comment": "{{ref.getGlyph('[pp]')}} hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Ges.",
+ "position": "letzte Note",
+ "comment": "Schließende Gabel von < > gestrichen mit Bleistift."
+ },
+ {
+ "measure": "3",
+ "system": "Klav. o.",
+ "position": "5.–6. Note",
+ "comment": "Augmentationspunkt zu 5. Note und Sechzehntelbalken zu 6. Note hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "",
+ "position": "Taktanfang",
+ "comment": "rückkehrend auf Rasur."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "1. Pause bis 6/8",
+ "comment": "Decrescendogabel über dem System gestrichen mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Ges.",
+ "position": "3. Note",
+ "comment": "Notenhals auf Rasur, nachgezogen mit blauem Buntstift."
+ },
+ {
+ "measure": "8",
+ "system": "Klav. o.",
+ "position": "15/16",
+ "comment": "Violinschlüssel nach 15/16 hinzugefügt mit grünem Buntstift."
+ },
+ {
+ "measure": "11",
+ "system": "Ges.",
+ "position": "1/8",
+ "comment": "Achtelnote überschreibt Achtelpause mit schwarzer Tinte."
+ },
+ {
+ "measure": "11",
+ "system": "Klav. u.",
+ "position": "5–6/8",
+ "comment": "Bogenansatz unter den Noten gestrichen und über den Noten neu notiert mit schwarzer Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Ges.",
+ "position": "4/8",
+ "comment": "{{ref.getGlyph('[a]')}} gestrichen und geändert zu {{ref.getGlyph('[b]')}} mit Bleistift."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. u.",
+ "position": "2/2",
+ "comment": "Halbe Pause hinzugefügt mit Bleistift."
+ }
+ ]
+ },
+ {
+ "blockHeader": "IV „So ich traurig bin“ M 141: Textfassung 2",
+ "blockComments": [
+ {
+ "measure": "1–15",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren. Ante correcturam: Fähnchen bei Achtelnoten (wie Textfassung 1)."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. o.",
+ "position": "1. Note",
+ "comment": "Unterstimmenschicht: {{ref.getGlyph('[ppp]')}} gestrichen mit Bleistift."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "",
+ "comment": "Nach unten orientierter Notenhals zu Gis gestrichen mit Bleistift."
+ },
+ {
+ "measure": "4",
+ "system": "Klav. u.",
+ "position": "2/8",
+ "comment": "Achtelpause hinzugefügt mit Bleistift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "3/16 bzw. 2/8",
+ "comment": "Sechzehntelpause in Oberstimmenschicht und Achtelpause in Unterstimmenschicht überschreiben eine Sechzehntelpause mit grünem Buntstift."
+ },
+ {
+ "measure": "6",
+ "system": "Klav. o.",
+ "position": "6/16",
+ "comment": "{{ref.getGlyph('[a]')}} überschreibt {{ref.getGlyph('[b]')}} mit Bleistift."
+ },
+ {
+ "measure": "7",
+ "system": "Klav.",
+ "position": "",
+ "comment": "Rasur zwischen den Systemen. Ante correcturam: vermutlich Crescendogabel (siehe Textfassung 1)."
+ }
+ ]
+ },
+ {
+ "blockHeader": "V „Ihr tratet zu dem Herde“ M 142: Textfassung 3",
+ "blockComments": [
+ {
+ "measure": "1–15",
+ "system": "Ges.",
+ "position": "",
+ "comment": "Auf zahlreichen Rasuren. Ante correcturam: Fähnchen bei Achtelnoten (wie Textfassung 1 und 2)."
+ },
+ {
+ "measure": "1",
+ "system": "Klav. u.",
+ "position": "3. Note",
+ "comment": "{{ref.getGlyph('[ppp]')}} unter dem System gestrichen. ##zwischen den Systemen neu notiert? siehe nächste Korrektur##"
+ },
+ {
+ "measure": "1
bis 5",
+ "system": "Klav.",
+ "position": "1. Pause
(3/4)",
+ "comment": "sic: rechte Hand als Oberstimmenschicht in Klav. u. notiert. Markierung und Anmerkung × Anmerkung für | den Stecher: | rechte Hand ins obere | System (Baßschlüssel) am rechten Seitenrand sowie Bassschlüssel in Klav. o. T. 1 vor 1. Pause sowie Violinschlüssel in Klav. o. T. 5 vor 2. Pause hinzugefügt mit rotem Buntstift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "1.–2. Note",
+ "comment": "Silbentrennstrich bei Su-chen hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "9",
+ "system": "Ges.",
+ "position": "3.–4. Note",
+ "comment": "Silbentrennstrich bei Ta-sten hinzugefügt mit blauem Buntstift."
+ },
+ {
+ "measure": "10",
+ "system": "Klav.",
+ "position": "2.–3. Note",
+ "comment": "Decrescendogabel unter Klav. u. gestrichen und zwischen den Systemen neu notiert mit schwarzer Tinte."
+ },
+ {
+ "measure": "12",
+ "system": "Klav. o.",
+ "position": "2/4–5/8",
+ "comment": "Decrescendogabel im System gestrichen und über dem System neu notiert mit schwarzer Tinte."
+ },
+ {
+ "measure": "13",
+ "system": "Klav. o.",
+ "position": "4. Note",
+ "comment": "Oberstimmenschicht: Viertelnote überschreibt Achtelnote mit Bleistift."
+ }
+ ]
+ }
+ ]
+ }
]
}
},
@@ -1687,7 +3887,7 @@
"location": "Wien: Universal Edition, 1923.",
"description": {
"desc": [
- "12 Seiten (S [1]–[12]): 3 fadengeheftete Bögen (S. [1]|2/11|[12], 3|4/9|10 und 5|6/7|8) in Umschlag (S. [a]–[d]), Format: hoch ### × ### mm. S. [2] und [12] sowie innere Seiten des Umschlags (S. [b] und [c]) nicht bedruckt. [Die konsultierten Exemplare lassen wegen Einbindung in Sammelbände keine Aussagen über das Originalformat und den Inhalt von S. [d] (Verlagsanzeige?) zu.]"
+ "12 Seiten (S. [1]–[12]): 3 fadengeheftete Bögen (S. [1]|2/11|[12], 3|4/9|10 und 5|6/7|8) in Umschlag (S. [a]–[d]), Format: hoch ### × ### mm. S. [2] und [12] sowie innere Seiten des Umschlags (S. [b] und [c]) nicht bedruckt. [Die konsultierten Exemplare lassen wegen Einbindung in Sammelbände keine Aussagen über das Originalformat und den Inhalt von S. [d] (Verlagsanzeige?) zu.]"
],
"writingMaterialStrings": [],
"writingInstruments": {
diff --git a/src/assets/data/edition/series/2/section/2a/intro.json b/src/assets/data/edition/series/2/section/2a/intro.json
new file mode 100644
index 0000000000..9f9ed9cd9a
--- /dev/null
+++ b/src/assets/data/edition/series/2/section/2a/intro.json
@@ -0,0 +1,12 @@
+{
+ "intro": [
+ {
+ "id": "de-awg-II-2a",
+ "content": []
+ },
+ {
+ "id": "en-awg-II-2a",
+ "content": []
+ }
+ ]
+}
diff --git a/src/assets/data/edition/series/2/section/2a/m38/textcritics.json b/src/assets/data/edition/series/2/section/2a/m38/textcritics.json
index c109aadf56..0c90d6726a 100644
--- a/src/assets/data/edition/series/2/section/2a/m38/textcritics.json
+++ b/src/assets/data/edition/series/2/section/2a/m38/textcritics.json
@@ -238,7 +238,7 @@
},
{
"svgGroupId": "g1426",
- "measure": "{11A} bis
{12A}",
+ "measure": "{11A}
bis {12A}",
"system": "1–2",
"position": "1/8
2/8",
"comment": "Noten gestrichen."
diff --git a/src/assets/img/edition/series/1/section/5/cover.jpg b/src/assets/img/edition/series/1/section/5/cover.jpg
new file mode 100644
index 0000000000..7e6c15b09a
Binary files /dev/null and b/src/assets/img/edition/series/1/section/5/cover.jpg differ
diff --git a/src/assets/img/edition/series/2/section/2a/m38/M38_Sk2-1von1-final.svg b/src/assets/img/edition/series/2/section/2a/m38/M38_Sk2-1von1-final.svg
index 8091bfb68f..3059abeb52 100644
--- a/src/assets/img/edition/series/2/section/2a/m38/M38_Sk2-1von1-final.svg
+++ b/src/assets/img/edition/series/2/section/2a/m38/M38_Sk2-1von1-final.svg
@@ -141,28 +141,6 @@