b. 370-371
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composition: Op. 21, Concerto in F minor, Mvt III
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According to us, all omitted and shortened accents in GE and FE are random inaccuracies. Moving the accents closer to is a completely arbitrary revision of EE, unifying all these bars with the notation of analogous bars 29-32 (also erroneous) – see bars 369-375. category imprint: Differences between sources issues: Long accents , EE revisions , Errors in FE , Errors in GE |
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b. 370-376
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composition: Op. 21, Concerto in F minor, Mvt III
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In FE the signs are written very carelessly in these bars – the sign in bar 370 points to the 3rd beat of the bar; the remaining ones (except for bar 373, in which FE does not have a ) fall between the 1st and 2nd beats of the bar (the last three are closer to the 1st beat). Since there are no doubts that the shifts are of a random nature, we reproduce them only in the version "transcription." category imprint: Graphic ambiguousness; Source & stylistic information issues: EE revisions , Inaccuracies in FE |
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b. 370
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composition: Op. 16, Rondo in E♭ major
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In FE, the slur ends on the last note of bar 370, despite its continuation on the new line. It must be a mistake of the engraver. In EE and GE, the ending of the slur was extended – a revision we deem accurate – cf. analogous bars 230-231. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 370
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composition: Op. 11, Concerto in E minor, Mvt III
category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
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b. 370
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composition: Op. 11, Concerto in E minor, Mvt III
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The finger swap written in FEH reminds of the need for a strict implementation of the tied bass note – see bars 361-363. category imprint: Differences between sources |