Issues : EE revisions
|
b. 12
|
composition: Op. 22, Andante spianato category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
||||||||
|
b. 13-14
|
composition: Op. 22, Andante spianato
..
The double slur of EE is most probably a revision. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 15
|
composition: Op. 22, Andante spianato
..
In the 2nd half of the bar the L.H. semiquavers are arranged in FE in a way that the last one falls already under f category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions |
||||||||
|
b. 17
|
composition: Op. 22, Andante spianato
..
The change of the written-down rhythmic values of the run was an arbitrary decision of the publisher, who could have taken into account the theoretical speed of performance: in this bar it is 14 notes that fall on 4 semiquavers, whereas in b. 41 and 49, 11 and 10, respectively. category imprint: Differences between sources issues: EE revisions |
||||||||
|
b. 18
|
composition: Op. 22, Andante spianato
..
The position of the reversed long accent seems to be inaccurate in FE, if we take into account similar marks in analogous b. 49-52. Due to the above reason, in the main text we begin that mark already in the previous bar in order to emphasise its relation to the motif of the ascending second, generally accompanied by reversed accents (cf. the Concerto in E Minor, Op. 11, II mov., b. 29). The version of EE is an arbitrary attempt at interpreting that mark as a crescendo, probably referring to the L.H. category imprint: Differences between sources; Editorial revisions issues: EE revisions |
before g2. The accidental was also added in 
3 in the R.H. The inaccuracy was corrected both in 
in 