



b. 520
|
composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources |
|||||
b. 520
|
composition: Op. 11, Concerto in E minor, Mvt I
..
In FED, there is a diagonal line written in pencil under the entire passage (from d category imprint: Source & stylistic information |
|||||
b. 521
|
composition: Op. 11, Concerto in E minor, Mvt I
..
A syncopation in a cantilena phrase is a typical place for a long accent, which is confirmed by the analogous bar in the exposition (bar 166). Therefore, we consider the accent in the sources to have been inaccurately reproduced. category imprint: Editorial revisions issues: Long accents |
|||||
b. 522-539
|
composition: Op. 11, Concerto in E minor, Mvt I category imprint: |
|||||
b. 523
|
composition: Op. 11, Concerto in E minor, Mvt I
..
Like in bar 168, it is not entirely clear whether the change of the manner of writing down the grupetto was an arbitrary decision of GE or the original version, corrected then in FE. In the discussed bar, FE bears visible traces of changes performed in print (they are absent in bar 168); however, it seems that they concerned reduction of the number of small notes between the d2 crotchet and the f2 quaver from five to four and not their beam. Therefore, the accuracy of the above observations would support the first possibility, i.e. an arbitrary change introduced in GE. category imprint: Differences between sources issues: GE revisions |