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b. 128
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composition: WN 29, Waltz in E minor
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In the main text we suggest adding an accent after the previous 3 bars. The absence of the mark is probably an oversight by the engraver, who overlooked it in a new line. category imprint: Editorial revisions |
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b. 128
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composition: Op. 12, Variations in B♭ major
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In FE (→EE) we can see semiquaver rests, instead of demisemiquaver ones. The mistake was corrected in GE. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , GE revisions , Rhythmic errors , Errors repeated in EE |
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b. 128
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composition: Op. 12, Variations in B♭ major category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions |
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b. 128
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composition: Op. 12, Variations in B♭ major
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It is difficult to say how this discrepancy arose, while each of the versions offer interesting interpretation possibilities. To the main text we adopt the FE variant (→EE), since it is probably based on [A], and certainly authentic. See also the note at the beginning of bar 129. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Authentic corrections of GE |
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b. 128
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composition: (Op. 4), Sonata in C minor, Mvt I
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The A slur having been led only to the 6th quaver in the bar is musically unjustified. This is confirmed by the comparison with similar figures, e.g. in bar 126. Due to the above, to the main text we adopt a slur led to the 7th quaver, as in GE (→FE,EE,IE). category imprint: Differences between sources; Editorial revisions issues: Inaccurate slurs in A , GE revisions |
lowering a1 to a
1 was omitted. The patent mistake was corrected in 
