Issues : EE inaccuracies
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b. 18
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composition: Op. 11, Concerto in E minor, Mvt I
category imprint: Differences between sources issues: Long accents , EE inaccuracies |
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b. 204
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, there are no accidentals before the 4th and 8th semiquavers in the bar; at the same time, due to the use of an octave sign in the notation of the 1st beat of the bar, it is only the category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in FE , GE revisions , EE inaccuracies |
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b. 296
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composition: Op. 11, Concerto in E minor, Mvt I
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EE1 overlooked the cautionary category imprint: Differences between sources issues: EE revisions , Cautionary accidentals , EE inaccuracies |
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b. 355
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composition: Op. 11, Concerto in E minor, Mvt I
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The mark over the 3rd beat may be interpreted as an accent – long in FE (→GE) and short in EE – or a short diminuendo hairpin. However, the latter is highly unlikely from the practical point of view, since after the previous category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies |
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b. 394-395
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composition: Op. 11, Concerto in E minor, Mvt I
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The missing pedal change at the transition between the bars must be an inadvertence. Consequently, inaccuracies in pedalling marks may be assumed also in bars 390, 398 and 399, although in that cases, they do not suggest an erroneous performance. A corresponding addition was introduced both in GE and EE (in the latter, inaccurately). category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , EE inaccuracies |
before the 4th note that is to be considered necessary. In 
before b at the beginning of the bar. The mark was added then in 
, performing this motif 
could easily deprive it of clarity. Due to this reason, we assume that the marks represent accents. 
in 