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b. 200
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composition: Op. 43, Tarantella
..
In A there is no category imprint: Differences between sources |
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b. 200-203
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composition: Op. 39, Scherzo in C♯ minor
..
EE is the only source in which the slur for this phrase is in line with its musical sense and with slurring in numerous similar phrases. In FE the slur only reaches the chord in bar 202 and runs under the chords, which is a routine change of the graphic layout employed by engravers. In GC (→GE) the slur was omitted. category imprint: Differences between sources issues: Inaccuracies in FE , Placement of markings , FE revisions , Errors of GC |
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b. 200-202
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composition: Op. 35, Sonata in B♭ minor, Mvt II
..
In the majority of the sources the arpeggios of the tenth chords in the L.H. are not marked. In spite of this, on the basis of a few signs appearing in analogous bars, we suggest an alternative notation with marked arpeggios. In the case of bar 201 in FE it is almost certainly an oversight, as the bar was only marked in the base text to FE1 – [A] – as a repetition of bar 13, in which there is an arpeggio sign. In EE2 the arpeggio in bars 201-202 was most probably added on this ground. category imprint: Interpretations within context |
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b. 200
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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The absence of category imprint: Differences between sources issues: Errors in EE |
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b. 200-202
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composition: Op. 35, Sonata in B♭ minor, Mvt II
..
The pedalling of GE1 and EE is most probably an inaccurate reproduction of their base texts – GC and FE respectively. The discussion on the versions of the latter – see bars 13-14. category imprint: Differences between sources issues: Errors in GE , GE revisions , EE inaccuracies |
lowering g to g
in LH.
in 
