Slurs
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b. 399-401
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composition: Op. 11, Concerto in E minor, Mvt III
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From the 2nd half of bar 399 on, five subsequent figures in the R.H. are devoid of slurs in GE1 (→GE2). The patent mistake was corrected in GE3. However, according to us, the roots of this mistake could have been found in FE, which is proven by the set of figures devoid of slurs in GE1 (→GE2) overlapping with the set of figures devoid of wedges on the topmost note. Such a compliance of mistakes most often points to their common origin, since committing the same or similar mistakes independently in the same place is highly unlikely. Therefore, most probably both slurs and wedges were overlooked in FE (or even in [A]), which was then corrected, but only with respect to slurs, in the last phase of proofreading of FE (→EE). category imprint: Differences between sources issues: GE revisions , Authentic corrections of FE |
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b. 404
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composition: Op. 11, Concerto in E minor, Mvt III
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The slur of FE (→GE1→GE2) is clearly inaccurate (cf. adjacent figures), which was corrected in EE and GE3. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions |
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b. 408
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composition: Op. 11, Concerto in E minor, Mvt III
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The two-bar slur in the R.H. is a result of the proofreading of FE – the traces of changes reveal that there were two slurs in the original version; the first was encompassing 3 triplets in bar 408, while the second – the remaining part of the passage. category imprint: Corrections & alterations; Source & stylistic information issues: Authentic corrections of FE |
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b. 420
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composition: Op. 11, Concerto in E minor, Mvt III
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In FE, the missing slur in the L.H. is a patent inaccuracy (in addition, the staccato marks in the 2nd half of the bar were overlooked, not to mention the Terzverschreibung error – see the subsequent notes in this bar). The slur was added in GE and EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 424
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composition: Op. 11, Concerto in E minor, Mvt III
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In the main text, we begin the slurs from the 1st semiquaver of the bar, since the first two semiquavers are encompassed with one slur in the three remaining analogous places in the second appearance of this theme (bars 416, 432 and 446). The notation in bars 415-416 is particularly significant, since it emphasises the unity of the tied quaver with the following semiquavers, which is especially meaningful when the entire phrase starts from two staccato quavers. category imprint: Editorial revisions |
