One is guaranteed to encounter questionable notes in the heavily chromatic music of a nearly-blind organist writing with a large blue crayon before the days of Finale and Sibelius. And, of course, we are no longer able to ask the composer about suspected errata and whether those errors might have been his or the engraver's. This post will be of interest to very few readers, with my apologies, but I just can’t stand it any more! I’m convinced of the following errata in Vierne’s Sixth Symphony for organ and have to share my findings with someone! I have also posted my program notes for this piece here.
[Page/Score/Measure/Beat/Limb: Suggested correction]
12/2/1/3/LH: b natural, like 12/1/2/6 and 12/1/3/6?
16/1/3/5/Ped: e-flat, to match similar half-step relations in preceding 2 measures?
20/1/2/4/LH: second eighth a-flat, to match 19/5/3? I go back and forth on this one.
20/2/1,3/4/LH: pattern altered. Why?
22/3/4/6/RH: d, to match similar half-step relations of all preceding RH figures? I go back and forth on this one.
22/4/2/1,3/RH: a natural rather than c natural, to match intervals in all other counterparts: 23/1/1/1,3 and 26/4/2/1,3 and 27/1/1/1,3?
23/1/3/2/RH: e-sharp to match similar passages such as 22/4/4/ and 26/4/4/ and 27/1/3?
25/4/5/1/LH: f-natural, to match intervals in 30/1/1/? The courtesy/cautionary sharp sign seems unnecessary.
26/2/1/6/LH: f-sharp, to match intervals in 22/2/1/4?
26/3/1/5/RH: d-sharp to match intervals in 22/3/1?
26/3/2/1/LH: completely different intervals from 22/3/2. Why?
26/3/3/5/RH: half-step relation missing. Why?
27/1/3/5/RH: b-sharp, to match diminished intervals in 22/4/4/ and 23/1/3 and 26/4/4/?
27/3/3/2-3/LH: different intervallic relations from all other similar passages: 23/2/2-3, 23/3/2-3 and 27/2/2-3. Why?
45/1/1/2/Ped: octave motion inverted. Why?
45/1/1/2/LH-RH: eighth rests; all others sixteenth, such as at 45/1/5 and 45/3/4, and others.