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b. 417-418
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composition: Op. 11, Concerto in E minor, Mvt I
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According to us, the fingering of the ending of this bar given only by Fontana differs from the one resulting from the digits written before in FEH – the absence of further indications suggests rather maintaining the hand position in that case, hence using the 3rd or 4th finger on f category imprint: Differences between sources issues: EE revisions |
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b. 417-419
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composition: Op. 11, Concerto in E minor, Mvt I
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In the main text, we add cautionary naturals before d2 in bar 417 and e3 in bars 419-420. category imprint: Editorial revisions |
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b. 417-424
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composition: Op. 11, Concerto in E minor, Mvt I
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Shortening the slurs so that they do not encompass the quavers ending the phrases in bars 418, 420, 422 and 424 is a part of far-reaching, arbitrary measures undertaken in GE3 aimed at unifying the slurring and other articulation markings in the figurational section of the development. In the discussed fragment, they also consisted in adding staccato dots to the pairs of semiquavers, opening the phrases, and in adding slurs in the L.H. category imprint: Differences between sources issues: GE revisions |
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b. 417
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composition: Op. 16, Rondo in E♭ major
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We add a cautionary category imprint: Editorial revisions |
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b. 418-431
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composition: Op. 39, Scherzo in C♯ minor
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In these bars the question of short or long accents has not beeb resolved. Fortunately enough, a performer who has both options at his disposal is triggered to think about his own idea. The lack of most of the accents in EE must be the engraver's error - the accents end at the beginning a new line of text. The lack of accent in b. 423 in FE is an obvious error too, and we suggest two ways of dealing with it. category imprint: Differences between sources issues: Long accents , Errors in EE |
1 and the 1st on c
before a
1 in the main text.
