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Issues : Authentic post-publication changes and variants
b. 119
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composition: Op. 11, Concerto in E minor, Mvt III
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FEH contains an ambiguous entry in the 2nd half of the bar – two almost vertical lines that can be interpreted as an emphasis on the entry of the solo part or, on the contrary, as a deletion of the 3rd quaver of the bar beginning the soloist part. It seems that the latter is supported by the diagonal cross over the 4th quaver, perhaps written as an additional marking of a new, shifted entry of the soloist. However, a possible variant gives rise to a number of doubts:
Therefore, the given version must be approached with great caution as a possible variant of uncertain authenticity. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 221
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composition: Op. 11, Concerto in E minor, Mvt III
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In FEH, the ties of the d category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 223-224
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composition: Op. 11, Concerto in E minor, Mvt III
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The crossing-out of the tied g category imprint: Differences between sources issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |
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b. 256-257
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composition: Op. 11, Concerto in E minor, Mvt III
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The octave sign added in FEH most probably defines an authentic variant. According to us, it is much more likely that it was meant to move the entire figure of both hands by an octave, and not only of the R.H. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH |