Issues : Omission of current key accidentals
|
b. 276
|
composition: Op. 21, Concerto in F minor, Mvt I
..
Same as in analogous bar 128, in A there is no accidental before the crotchet in the middle voice. It must be an oversight, corrected already in GE1 (→FE→EE, →GE2). category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Authentic corrections of GE , Last key signature sign , Inaccuracies in A |
|
|
b. 277
|
composition: Op. 2, Variations, complete
..
Neither AsI nor A (→GE→FE1,EE,FESB) include an accidental to the 7th semiquaver. The F major chord underlying this place is, however, thanks to the C7 chords present directly both before and after it, temporarily the tonic, which requires the use of e2, and not e category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Authentic corrections of FE |
|
|
b. 290
|
composition: Op. 16, Rondo in E♭ major
..
As in bar 274, there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals |
|
|
b. 291-292
|
composition: Op. 44, Polonaise in F♯ minor
..
Like in b. 58-59, in FE1 there is not a single category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Omission of current key accidentals , FE revisions |
|
|
b. 293
|
composition: Op. 44, Polonaise in F♯ minor
..
In the sources there is no category imprint: Interpretations within context |
2. This conclusion is also supported by bar 285 – in the orchestral version of this phrase all sources contain e2(3). The mistake, patent in this context, was, however, corrected only in the stage of proofreading 
raising a
over the 
mark, which is a patent inaccuracy, certainly repeated after [A].