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Issues : Sign reversal
b. 27
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composition: Op. 10 No 3, Etude in E major
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Looking at bar 29, one could wonder whether the category imprint: Interpretations within context; Differences between sources issues: Sign reversal |
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b. 29
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composition: Op. 11, Concerto in E minor, Mvt II
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Minor gaps between the notes in FE hamper the evaluation of the size and placement of the mark, looking like a reversed accent. In this melodic and harmonic context, the mark in [A] could indicate a reversed accent (short or long) or a category imprint: Editorial revisions issues: Sign reversal |
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b. 33
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composition: WN 17, Polonaise in B♭ major
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The sign of accent, visible only in PE, is reversed to the left. Therefore, its way of interpretation is not entirely clear. In the main text we propose an interpretation assuming an error of the sign's reversal. category imprint: Differences between sources issues: Sign reversal , Inaccuracies in PE |
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b. 40
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composition: Op. 21, Concerto in F minor, Mvt II
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According to us, an earlier placement of the category imprint: Differences between sources issues: Inaccuracies in GE , Sign reversal , Authentic corrections of FE |
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b. 41
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composition: Op. 11, Concerto in E minor, Mvt II
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The slur of FE (→GE1→GE2) is most probably a mistake, hence in the main text we include a correction introduced in EE and GE3. We may be dealing here with a peculiar mark reversal – the engraver led the slur from the 1st semiquaver of the triplet to the left instead of to the right (cf. a similar mistake in the Concerto in F minor, op. 21, the 3rd mov., bars 172-173). category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions , Sign reversal |