Issues : Inaccuracies in GE
b. 65
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composition: Op. 21, Concerto in F minor, Mvt III
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The sign in A is a typical long accent. In GE1 it was moved to the end of the triplet, so it is unknown which note it concerns (the engraver most probably considered it a hairpin). In the remaining editions, the placement and size of the sign were subject to further arbitrary changes although the notations of EE and GE2 are generally similar to the notation of A. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies |
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b. 70
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composition: Op. 21, Concerto in F minor, Mvt III
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We consider the sign written in A to be a long accent, although preceding it with a short sign in bar 69 could suggest a hairpin (however, in this context performance difference would be minimal). The sign was reproduced in all editions as diminuendo; moreover, in EE it was preceded with , most probably repeated after analogous bar 78. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE |
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b. 70
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composition: Op. 21, Concerto in F minor, Mvt III
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It is a very instructive example of how the accumulation of minor inaccuracies of subsequent editions transformed the acciaccatura in A into a regular crotchet in EE (the crotchet in FE is printed in a font of intermediary size, used in the orchestral part). All changes concerning the a1 note are most probably erroneous, whereas placing it over the rest in GE1 seems to have been forced by lack of space. category imprint: Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 80-82
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composition: Op. 21, Concerto in F minor, Mvt III
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The earlier started slur in FE (→EE) is an inauspicious interpretation of the carelessly written slur of GE1. In addition, the endings of the slurs at the transition between bars 81 and 82 are incompatible in GE1 and FE. We interpret these inaccuracies in favour of a continuous slur due to proximity of a correct slur in bars 83-84. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 82
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composition: Op. 21, Concerto in F minor, Mvt III
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The accent in A is not unequivocal as such, hence its interpretation in GE (→FE→EE) as a short accent for the R.H. is not conspicuous. However, a comparison with the notation of analogous bars resolves the doubt in the favour of a long accent over the L.H. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , GE revisions |