b. 137
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composition: Op. 64 No 2, Waltz in C♯ minor
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Same as in bar 9, the absence of the sign is most probably a mistake of the engraver of FE (→GE,EE). It seems that seeing in A a reference to the earlier section of the piece, the engraver used the already engraved text and not A again. category imprint: Differences between sources issues: Errors in FE |
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b. 137
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The inconsistent with the bar stucture L.H. slurring in GC as well as the lack of the second L.H. slur in FE1 are almost certainly mistakes by the copyist and the engraver. On the other hand, the slur added in FE2 (→EE,FE3→FE4) is probably inaccurate, as evidenced by the slurring of the subsequent bars. In the main text, we give the probable reconstruction of the slurs in [A], aptly guessed in GE. category imprint: Differences between sources issues: Errors in FE , Inaccuracies in FE , GE revisions , FE revisions , Inaccuracies in GC |
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b. 137-138
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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We adopt the pedalling from FE in the main text, for it is consistent with the pedalling of the subsequent bars. The placement of the sign in GE, although apt from a pianistic point of view, is nevertheless a probable arbitrariness of the engraver. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in GC |
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b. 137
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composition: Op. 21, Concerto in F minor, Mvt I
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In spite of the difference in the size, we consider both accents of A in this bar to be long – cf. a similar situation in the following bar, 138. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 137-138
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composition: Op. 21, Concerto in F minor, Mvt I
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In the main text we add a cautionary before e2 in bar 137 and a before G in bar 138. The first was added already in EE2 (→EE3). category imprint: Differences between sources; Editorial revisions issues: EE revisions |