b. 223
|
composition: Op. 16, Rondo in E♭ major
category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions , Wedges |
|||||
b. 223-224
|
composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources |
|||||
b. 223-224
|
composition: Op. 11, Concerto in E minor, Mvt III
..
The crossing-out of the tied g1 note at the beginning of the bar visible in FEH may indicate a variant – cf. analogous bar 228. It was probably meant to simplify the performance, since omission of the tie, sonically practically unnoticeable, enables the f1-g1 second to be performed with the 1st finger, which, in turn, allows for an easier fingering of the upper voice. However, it cannot be excluded that the crossing-out was only supposed to suggestively signalise that this note should not be played simultaneously with the e1-e2 octave, which is indicated by a few similar crossings-out – see bars 294-295 as well as 334-335, 370-371, 377-378. category imprint: Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
|||||
b. 223
|
composition: Op. 22, Polonaise
..
In the main text we suggest adding an accent at the beginning of this bar. The accent is featured in two out of three repetitions of this bar (in b. 227 and 247), and, according to us, it is the composer's inadvertence or a mistake of the engraver of FE that are the most likely reasons for its absence. There is a similar situation in b. 243. category imprint: Editorial revisions |
|||||
b. 223-224
|
composition: Op. 22, Polonaise
..
The missing staccato dots under the bass octaves at the beginning of these bars must be an inaccuracy of notation. Dots are present in analogous b. 227-228 and 247-248 as well as 244. After all, the staccato articulation results here from the very piano texture, hence we do not signalise the addition of the marks with brackets. category imprint: Editorial revisions |