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b. 354
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composition: Op. 2, Variations, complete
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The slur under the last three quavers of the R.H. bottom voice added in GE (→FE,EE) is questionable, as far as its possible authenticity is concerned. The slurring of this bar could actually be considered incomplete; however, a slur of such range does not correspond to any tangible structural unit (motif), while legato articulation is indicated in the sources of the orchestral part for the entire 6-note motif of the bassoon I from the 2nd quaver in the bar to the beginning of bar 355. According to us, the slur could have resulted from a misunderstanding in interpreting A or an entry in the proof copy of GE1 (perhaps Chopinesque). Taking into account the above, we do not include this slur in the main text. category imprint: Differences between sources issues: GE revisions |
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b. 354
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composition: Op. 2, Variations, complete
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In all sources the bass f is provided with a wrong rhythmic value – a minim in AsI and a dotted minim in A (→GE→FE,EE). The mistake could have resulted from copying the notation of the bassoon II part, in which this note is played from the beginning of the bar and is provided with such a value – a minim in AsI and a dotted minim in GEork (→FEork). In the main text we give the correct value, written down in accordance with the division of the beams of the bottom voice on the top stave in A. category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE , |
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b. 355-356
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composition: Op. 21, Concerto in F minor, Mvt III
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In the part of the L.H. these bars are written in A in an abbreviated manner, as repetitions of bar 354. The bars were written in full in GE (→FE→EE). category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 355
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we omit the sharps before the D category imprint: Differences between sources; Editorial revisions issues: GE revisions , Cautionary accidentals , Last key signature sign |
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b. 355
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composition: Op. 11, Concerto in E minor, Mvt I
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The mark over the 3rd beat may be interpreted as an accent – long in FE (→GE) and short in EE – or a short diminuendo hairpin. However, the latter is highly unlikely from the practical point of view, since after the previous category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies |
-d
, performing this motif 
could easily deprive it of clarity. Due to this reason, we assume that the marks represent accents.