



b. 322
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composition: Op. 49, Fantaisie in F minor
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We introduce the category imprint: Differences between sources; Editorial revisions issues: Authentic corrections of FE |
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b. 322
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composition: Op. 49, Fantaisie in F minor
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In A the starting point of the slur encompassing the final passage is not clearly defined. The tip of the slur is between the 1st and the 2nd triplet quavers and is quite high above the notes (above the shorter slur of the separated voice), hence it cannot be said which quaver it concerns. These factors could have made the engraver of GE (who considered this version of notation inaccurate on a larger scale) lead this slur from the 1st note in the bar. The origin of the longer FE slur could be similar, yet other scenarios are likely as well – in this edition the second slur in this bar is missing, hence the copyist (or the engraver) could have assumed that the overlapping A slurs are an inaccurately written down extension to the slur. According to us, the A slur is supposed to run from the 1st triplet quaver assigned to both hands (e category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A |
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b. 322-324
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the accidentals to the bottom notes of the L.H. octaves in bar 322 and 324 are missing. The omitted category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 323
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composition: Op. 21, Concerto in F minor, Mvt I
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FE overlooked the category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 323
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composition: Op. 21, Concerto in F minor, Mvt III
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The cautionary flat before b category imprint: Differences between sources issues: GE revisions , Cautionary accidentals , FE revisions |