Shorthand & other
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b. 99-114
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, the majority of the semiquavers in bars 99-102 and 111-114 is written in an abbreviated manner as minims with tremolandos. It applies to the first 8 semiquavers in bars 100, 102, 112 and 114, entire bars 101 and 113 and the last 8 semiquavers in bar 111. In FE (→EE,GE1→GE2), all abbreviations were explained (like in our system). In GE3, the abbreviated notation was re-introduced in the same places as in Atut and additionally on the 2nd and 3rd beats of bar 99. category imprint: Differences between sources issues: GE revisions , Abbreviated notation of A |
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b. 138-139
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composition: Op. 11, Concerto in E minor, Mvt I
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Atut ends in bar 138 with a mark indicating the place where it is incorporated into the main base text of FE (lost), which was most probably an autograph of the entire Concerto in the version for solo piano ([A]), independent or written into a hand-written score. From bar 139 on, there are no manuscripts among the sources of this movement of the Concerto. category imprint: Source & stylistic information issues: Incomplete sources |
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b. 156-158
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composition: Op. 11, Concerto in E minor, Mvt I
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In bars 156 and 158, in GE3, the repeated chords were written in an abbreviated manner as dotted minims with quaver tremolos. There is a similar situation in bar 160, 162 and 171-172. category imprint: Differences between sources issues: GE revisions |
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b. 160-178
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composition: Op. 11, Concerto in E minor, Mvt I category imprint: |
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b. 160-172
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composition: Op. 11, Concerto in E minor, Mvt I
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In GE3, the repeated chords in bars 160, 162 and 171-172 were written in an abbreviated manner as minims with quaver tremolos. category imprint: Differences between sources issues: GE revisions |