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b. 100
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing staccato dots in the R.H. part in GE1 (→GE2) are a patent oversight of the engraver, completed in GE3. It is probably the response of oversight of dots, which occurred in FE in the next bar – in both editions, dots were overlooked in the bar ending a line of text (101 in FE, 100 in GE). category imprint: Differences between sources issues: Errors in GE |
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b. 100-103
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composition: Op. 11, Concerto in E minor, Mvt III
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In GE3, all semiquavers were provided with staccato dots. It is a part of a large-scale arbitrary revision of performance indications in this Tutti. Similarly in bars 328-331. category imprint: Differences between sources issues: GE revisions |
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b. 101
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing staccato marks in the 1st half of the bar in FE must be an oversight, completed both in GE and EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , GE revisions |
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b. 105-107
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composition: Op. 11, Concerto in E minor, Mvt III
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In GE3, slurs over the three-note motifs in the top voice of the R.H. and the L.H. were arbitrarily added in bars 105 and 107 (three subsequent semiquavers in the R.H. were provided with staccato dots). category imprint: Differences between sources issues: GE revisions |
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b. 105-107
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composition: Op. 11, Concerto in E minor, Mvt III
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As part of an arbitrary clarification of articulation, GE3 provided the repeated semiquavers in bars 105 and 107 with staccato marks. category imprint: Differences between sources issues: GE revisions |
