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b. 300

composition: Op. 2, Variations, complete

No markings in sources

[ten. ten.], our alternative suggestion
..

Both bass notes are certainly to be played tenuto, as in the previous bars. The missing slur could be understood as an indication that the articulation should be other than legato; however, the tenuto markings are of a reminding nature: they indicate that the rhythmic value should be held to the end, which results from the context though – separating these notes as an independent voice written in long rhythmic values would be pointless if they were not to be held in full. Due to the above, we refrain from burdening the main text with indications that do not carry new information.

category imprint: Editorial revisions

b. 301

composition: Op. 21, Concerto in F minor, Mvt I

No sign in sources

 suggested by the editors
..

In the main text we suggest adding a  sign after bars 303 and 305 – cf. analogous bars 151-155.

category imprint: Editorial revisions

b. 301

composition: Op. 21, Concerto in F minor, Mvt I

Slur from semiquavers in A & GE2

Slur over 2nd half of bar in GE1 (→FE→EE)
..

The later beginning of the slur in GE1 (→FE→EE) is undoubtedly an inaccuracy of the engraver.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 301

composition: Op. 21, Concerto in F minor, Mvt I

Accent in A & GE2

No mark in GE1 (→FE→EE)
..

Omitting the 1st accent is a mistake of GE1 (→FE→EE).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 301-307

composition: Op. 21, Concerto in F minor, Mvt I

Short accents in A (→GE→FE)

Vertical accents in #E
..

The use of vertical accents in bars 301, 303, 305 and 307 is a typical discretion of EE. Similarly in bars 302 and 304.

category imprint: Differences between sources

issues: EE revisions