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b. 156-163
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composition: Op. 43, Tarantella
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In A these bars are marked as repeat of bars 148-155. category imprint: Differences between sources |
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b. 156
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composition: Op. 43, Tarantella
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Since bars 148-155 in A are marked with a repeat sign, we notate the second chord of LH in b. 156 as a crotchet and quaver rest analogous to b. 148. In the remaining sources the notation of b. 148 as a crotchet and quaver rest was also retained. category imprint: Differences between sources |
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b. 156-160
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composition: Op. 43, Tarantella
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Bars 156-159, similarly to bars 148-151 are slurred differently in the sources. The main differences fall on the first two bars of the phrase. Cf. b. 148 In FE(→IE) the slurs extend as far as the chord on the first beat in b. 160, which is different from any other sources. category imprint: Differences between sources issues: GE revisions , FE revisions |
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b. 156
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composition: Op. 43, Tarantella
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In A, in the second part of b. 148 (and 156 marked as repeat) in both the bottom voice in RH and in LH the crotchets are not dotted and there are no rests. We make additions to the notation based on the correctly written out corresponding b. 152 (and 160). category imprint: Interpretations within context; Differences between sources; Editorial revisions |
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b. 156
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composition: Op. 39, Scherzo in C♯ minor
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In FE, the note d flat is ascribed to the left hand. This would be possible, were it not for the sustaining of that d flat until the next bar, which makes the division completely impractical. category imprint: Source & stylistic information issues: Inaccuracies in FE |
