Bar
|
Comment
|
1
|
timpani: A gives their tuning in this bar, in our edition moved to bar 29
|
3-8
|
harp: in A without # before a and g, added
|
4, 8
|
harp: in A without gliss., added
|
8
|
strings: in A again explicitly "sempre div. a 2", omitted
|
26
|
horns: in A, dim. starts in bar 27, adjusted according to oboe and clarinet parts
|
32-
|
flute: accents on the first semiquavers only for flute in A; in analogue passages without these accents
|
34
|
violin solo: in B without accent on e flat
|
38
|
violin solo: bowing in B: (a g) (f# g#) (b a#), not thus in bar 46
|
38
|
viola and cello: in B all notes in one single bow
|
43-45
|
viola: in A b flat, in B b natural; the latter option seems to be more logical, bassoon and horn playing a (sounding) b natural on the first beat of bar 43 as well; in D and E the violas play b flat though, therefore we have chosen b flat
|
48
|
clarinet 1: in A f natural, in B f sharp, which seems to be a logical imitation of the violin solo in the preceding bar; in D and E fa natural, therefore we have chosen fa natural
|
56-61
|
orchestra: in B all notes staccato, in A staccato only on first beat of bar 56 in violin 1, therefore in our edition without staccato
|
59
|
violin solo: in A without trill, most likely a slip of the pen, in B with trill
|
62
|
harp: in A written an octave below with addition 8va bassa
|
62
|
cello: in A without sempre marcato
|
63
|
harp: sim. added (compare to bassoon and double bass), not in A or B
|
69
|
trombones, cello: in B without accents
|
70
|
cello: sim. added (compare to trombones)
|
71-72
|
bongos: dynamics added, analogous to other instruments
|
76
|
trombones: in A without accent on last note, added; in B no accents at all
|
80-81
|
bongos: dynamics added
|
83-85
|
violin solo: in A an octave above, without 8va alta
|
90
|
violin solo: in B without dim.
|
93
|
bassoons: pp added (compare to double bass)
|
98-100
|
trombones: in A d natural, in B d sharp, in D and E d natural as well
|
105
|
cello: in A, bowing different, probably a slip of the pen
|
111
|
bassoon 2: in A e sharp, in B, D and E d sharp, which seems to be more logical: in bars 111-113, the bassoons evolve in octaves
|
123
|
violin solo: in B two last quavers staccato
|
124
|
violin solo: in B first 5 quavers staccato
|
141
|
flutes: a 2 added
|
141-142
|
orchestra: staccato added, in analogy to bars 121-123
|
148-first half of 149
|
in A without staccato dots, with dots in B
|
153
|
cymbal: in A à l'ord.
|
155-156
|
violin solo: many notes with staccato dots, probably erroneous (compare to bars 34-35)
|
Bar
|
Comment
|
1
|
metronome number not in B
|
6
|
dynamics different, as in A
|
11
|
cello: as in A, without div. or non div.
|
16-17
|
double bass: no dynamics in A, see also bars 72-73
|
20
|
violin solo: in A and B without slurs, slurs added according to bar 76
|
34
|
clarinet 1: first note as in A, D and E, the clarinet thus imitating the flute and being imitated by the harp; according to B a d tied to the previous note, probably a mistake
|
46
|
trumpet: f and c not slurred in A, but slurred in B; compare also cello and double bass in the previous bar
|
54
|
harp: dynamics as in B (harp p, strings pp)
|
65
|
cello and double bass: in A a natural, in B a flat; recordings D and E also seem to play an a flat, therefore a flat in our edition
|
68
|
violin solo: in B, the second slur contains 3 notes
|
72-73
|
double bass: no dynamics in A, see also bars 16-17
|
76
|
violin solo: in A without slurs, added according to B
|
90-91
|
violin solo: slurs as in A, different in B
|
91-93
|
harp: in A without 8va alta and notated an octave above
|
97
|
clarinet 2: note on third beat: in A, D and E thus, in B a major second above (probably a transposition error)
|
Bar
|
Comment
|
everywhere
|
the articulation of the rondo theme is inconsistent in A, in our edition no attempt has been undertaken to unify it
|
4
|
violin solo: in A, the fourth beat is difficult to decipher, adopted as in B
|
26
|
in B, trill with wavy line
|
33
|
bassoon 1 and cello: in A without a, in D and E with a, in B with a, but, B being a reduction of the whole orchestra, this a could stem from the harp part alone; a added
|
33, 36, 38, 50, 53 & 55
|
bassoons: in A slurred in bar 50 only; in B always slurred, except for bar 53; in our edition always slurred
|
50
|
horns: in A dotted crotchet, obviously a slip of the pen
|
55
|
harp: first note thus (only f), probably for the harpist's convenience
|
58
|
clarinet 2: in A second note f, according to B, D and E e; compare to the harp and bar 56
|
58
|
harp: in A first chord without g, compare to bar 56
|
60
|
violin solo: in B, the last slur starts on c flat already, obviously a slip a the pen
|
70-72
|
tutti, except flutes, violins and viola: in A and B thus, without articulation
|
72
|
flutes: in A without accent on the third beat, with accent in string parts, in B no accents at all in bars 71-72; accent added to e flat
|
76
|
bassoons, cello and double bass: in B without mf and without accent
|
76
|
violin solo: in A without accent on first beat, but compare to bar 3 and analogous passages; in B without accents in bars 76-77, with accents in similar passages
|
90
|
strings: gliss.? not in A; B: at bar 87, Legley writes cordes gliss.; in bars 93-95 twice gliss. as well; recordings D and E seem to play it without glissando
|
111-114
|
oboes: unclear whether oboe 2 should play these bars as well, one single oboe seems sufficient, I added; in recording E, the oboe seems not to play at all, perhaps in order to allow more expressivity to the solo violin
|
132 & 134
|
violin solo: all sources give g sharp as second note in bar 132 and g natural as second note in bar 134
|
137
|
violin solo: in B, poco a poco crescendo starts a bar earlier
|
146-149
|
tutti, except flutes, violins and viola: in B without accents or staccato dots
|
147
|
flutes: in A without accent on the third beat, added according to strings
|
147
|
violins and viola: b flat and f not slurred in A or B, but slurred in preceding similar passages; slur added
|
150
|
timpani and snare drum: with staccato dots in A, the rest of the orchestra doesn't have dots
|
151-158
|
tutti, except flutes, violins and viola: in A unarticulated, in B with accents
|
155
|
bassoon 1 and trombone 1: stems not connected in A, connected in other parts
|
155-156
|
last 3 quavers of bar 155 until the first 3 quavers of bar 156: violins and viola: accents only in B, but compare to bars 148-149
|
156
|
oboes, clarinets, horns, trumpets, timpani and snare drum: stems not connected in Bin B; bassoons, trombones, cello and double bass: not connected in A neither
|
158
|
viola, cello and double bass: in B cresc. on the last 6 semiquavers, not in A, D and E
|
165
|
bassoons: f not repeated in A (see bar 159), repeated in parts of trombones and low strings
|
166
|
violin solo: slur only in B, A has slur in bar 2, therefore added; in D and E possibly without slur
|
168
|
violin solo: in A and B without accents on the third beat, but compare to bars 4 and 77; accent added
|
175
|
tutti: sempre molto marcato not in all instrumental parts in A, completed
|
175-176, 179-181
|
tutti, except flutes, violins and viola: in A without articulation, in B with accents and staccato dots; no articulation added
|
177 & 180
|
flutes: no notes on the first beat
|
194-195
|
last quaver of 194 until 195: bassoons, trombones, snare drum and strings: in B with accents and staccato dots, not added because they are implied by the marcatissimo of bar 184
|