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Issues : Inaccuracies in FE
b. 5-6
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composition: Op. 21, Concerto in F minor, Mvt III
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The vague placement of the slur in GE1 – it can be seen as a slur of c1-d category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of GE |
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b. 29-32
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composition: Op. 21, Concerto in F minor, Mvt III
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The notation of accents in A is clear and unambiguous – four long accents on the 3rd beat of each of the bars. In spite of this, the editions did not faithfully reproduce both the placement and the length of the signs. All changes in GE1 and FE are undoubtedly of an accidental nature, which, with a tightly packed text, leads to confusion and impedes the interpretation and reproduction of their notation. Sometimes, the accents start so close to category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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b. 30-32
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composition: Op. 21, Concerto in F minor, Mvt III
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The category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE |
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b. 53-55
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composition: Op. 21, Concerto in F minor, Mvt III
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In GE1, the ties of c2 were reproduced literally, as short, horizontal, little ties preceding the c2 crotchets at the beginning of bars 54 and 55. The notation was misunderstood in FE (→EE), by assigning the curved lines to the bottom notes of chords, g1-a category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions |
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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 category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies |