Articulation, Accents, Hairpins
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b. 240
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composition: Op. 21, Concerto in F minor, Mvt I category imprint: Differences between sources issues: EE revisions , Errors in GE , GE revisions |
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b. 241-245
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composition: Op. 21, Concerto in F minor, Mvt I
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In EE all accents in the R.H. in bars 241, 243 and 245 were printed as vertical ones, which was a frequent arbitrary decision of that edition. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 243
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composition: Op. 21, Concerto in F minor, Mvt I
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The accent over the sixth in the L.H. in the middle of the bar was overlooked in GE1 (→FE→EE) and returned in GE2 in the form of a sign at the height of the previous category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions |
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b. 243-245
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composition: Op. 21, Concerto in F minor, Mvt I
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The absence of category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 247
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composition: Op. 21, Concerto in F minor, Mvt I
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It is difficult to say what the motivation of the reviser of GE2 was, while providing the chords at the beginning of the bar with staccato dots. Perhaps he assigned a dot over the crotchet in the cello part in Morch to the chord in the L.H., which is not entirely excluded. In any case, the sign in the R.H. is certainly absent in A. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in A |
in 
sign. The notation of 
