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b. 456-457
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composition: Op. 21, Concerto in F minor, Mvt III
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In A, it is difficult to say where the slur in the L.H. in bar 456 is supposed to reach. When interpreted literally, it leads to the last chord in this bar, yet in bar 457, on a new page in A, there is an ending of a slur from the previous page. In GE (→FE→EE), both slurs were combined in one, which has to be considered a possible interpretation (it also seems to be likely that the slur was added in its entirety in the proofreading of GE1). However, according to us, it is the contextual interpretation including the authentic slurs in bars 416-417 and 424-425 that is more likely, and these are the slurs we give in the main text. category imprint: Graphic ambiguousness; Differences between sources |
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b. 456
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composition: Op. 21, Concerto in F minor, Mvt III
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Both the absence of the dot extending the c1 crotchet in GE1 and the complete omission of the extension of this quaver in FE (→EE) must be mistakes. category imprint: Differences between sources issues: Errors in FE , Inaccuracies in GE , GE revisions |
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b. 456
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composition: Op. 21, Concerto in F minor, Mvt III
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The short accent in A was reproduced in GE1 as a long one, since the engravers were probably convinced that they were a diminuendo hairpin. This is how it was interpreted in FE (→EE), extending the mark to the end of the triplet, "for clarity." The form of the sign compliant with A was restored in GE2. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 456
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, the bass clef is placed already after the 1st semiquaver. The patent mistake was corrected in both GE and EE. A respective correction was included also in FEH. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Errors in FE , Annotations in FEH |
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b. 456
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources |
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