b. 643
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In the majority of the sources, the bar is written with an octave sign, which was overlooked in EE1. The mistake was corrected in EE2 (→EE3). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE |
|||||
b. 643
|
composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: EE revisions |
|||||
b. 644
|
composition: Op. 39, Scherzo in C♯ minor
..
In EE and FE we leave out redundant sharps before e and e1 in the last chord of the bar. The sharps are present in GC (→GE1) but the lower is erroneously notated on g. In GE2 the accidntal was removed. category imprint: Editorial revisions; Source & stylistic information issues: GE revisions , Cautionary accidentals , Errors of GC |
|||||
b. 644-645
|
composition: Op. 39, Scherzo in C♯ minor
..
In GC (→GE) and EE, the marks, despite some differences, undoubtedly apply to both C major chords in these bars. We believe they represent a long accent spanning the two chords. The mark in FE is a typical long accent characteristic of this edition. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
|||||
b. 644
|
composition: Op. 39, Scherzo in C♯ minor
..
In FE all chords are written as crotchets, and so the bar consists mistakenly of 7 quavers. When we compare it with EE and GC (→GE), we can actually pinpoint the miastake in the last chord of the bar. category imprint: Source & stylistic information issues: Errors in FE |