Issues : Errors in EE
b. 1-2
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composition: Op. 28 No. 8, Prelude in F♯ minor
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The long accents written in A (→FC) were not reproduced correctly in any of the editions. Both the shorter marks in FE and their omission in GE could have been related to a very dense and not always rational vertical text layout. The change of the accents' font in EE is a revision, typical of that edition, while the omission of the third mark – an oversight. category imprint: Interpretations within context; Differences between sources issues: Long accents , EE revisions , Inaccuracies in FE , Errors in EE , Errors in GE |
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b. 1
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composition: Op. 28 No. 16, Prelude in B♭ minor
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The missing staccato dot is an oversight of the copyist and the engraver of EE. category imprint: Differences between sources issues: Errors in EE , Errors of FC |
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b. 1-6
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composition: Op. 28 No. 18, Prelude in F minor
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None of the editions based on manuscripts reproduced all 4 slurs over the pairs of chords in bars 1-2 and 5-6. EE1 overlooked yet 2 out of 3 slurs in FE. The complete set of slurs in EE2 results from a compilation of the slur of EE1 with the slurs reproduced from GE1. category imprint: Differences between sources issues: EE revisions , Errors in FE , Errors in EE , Errors in GE |
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b. 2
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composition: Op. 29, Impromptu in A♭ major
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The mordent's sign was omitted in EE. category imprint: Differences between sources issues: Errors in EE |
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b. 2-4
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Staccato dots at the beginning of bars 2 and 4 consist the most glaring example of German engraver's misrepresenting wedges in GC – the difference between wedges there and dots in neighbouring bars 1, 3 & 5-7 is very distinct. GE did not use any wedges in the whole Sonata. The lack of signs in EE is most probably an oversight. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in EE , Wedges |