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b. 256-257
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composition: Op. 19, Bolero
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In FE, there are visible traces of removal of superfluous cautionary category imprint: Source & stylistic information issues: Cautionary accidentals , Authentic corrections of FE , FE revisions |
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b. 256-260
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composition: Op. 21, Concerto in F minor, Mvt III
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In the part of the L.H. neither the clef was changed to the treble one in bar 256 nor the bass clef returned at the end of bar 260 in A. These patent oversights – particularly taking into account the orchestral part of Morch with the constantly held G category imprint: Interpretations within context; Differences between sources issues: GE revisions , Errors of A |
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b. 256-259
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composition: Op. 16, Rondo in E♭ major
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In EE1, there is no slur in the R.H. in bars 256-259 (even though there is its ending in bar 260). The reviser of EE2 (→EE3) arbitrarily corrected that mistake by introducing four one-bar slurs. category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 256
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composition: Op. 16, Rondo in E♭ major
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In GE, the engraver overlooked the category imprint: Differences between sources issues: Accidentals in different octaves , Inaccuracies in GE |
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b. 256-257
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composition: Op. 11, Concerto in E minor, Mvt III
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The octave sign added in FEH most probably defines an authentic variant. According to us, it is much more likely that it was meant to move the entire figure of both hands by an octave, and not only of the R.H. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
next to all b
1 in bars 256 and 257. The signs were probably removed in the first proofreading of 
major chord – were corrected already in 
raising a
