



b. 266-267
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composition: Op. 49, Fantaisie in F minor
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As in analogous bars 109-116, the slurs over the octave sequences are certainly supposed to reach the final crotchets. It was generally precisely marked in the sources except a minor inaccuracy due to the transition to a new line – in A and FE there is no ending of the slur from bar 276 in bar 277. It was corrected both in GE and EE. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions , Uncertain slur continuation , Inaccuracies in A |
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b. 266
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composition: Op. 49, Fantaisie in F minor
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The absence of a category imprint: Differences between sources issues: Errors in FE , Uncertain notes on ledger lines |
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b. 266
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composition: Op. 49, Fantaisie in F minor
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The range of the FE slur deviates from the slurs in all three previous analogous places (bars 95-96, 99-100 and 262-263), which suggests a mistake by the copyist or by the engraver. category imprint: Differences between sources |
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b. 266-268
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A there are no accidentals in the 2nd half of bar 266 and 268. They were added in GE (→FE,EE,IE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 266-268
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The missing cresc. at the end of bar 266 and 268 is almost certainly a revision by the engraver of GE, who made his work easier by omitting indications he considered pleonastic next to the category imprint: Differences between sources issues: GE revisions |