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Examples of alternative editorial decisions: C.M. von Weber, Piano Sonata n.2 in Ab Major, Op.39, 8 measures from end of last movement: Paris ed. ca. 1868; Peters ed.; Liszt ed. (all from IMSLP)

Examples of alternative editorial decisions: C.M. von Weber, Piano Sonata n.2 in Ab Major, Op.39, 8 measures from end of last movement. Paris ed. ca. 1836; Peters ed.; Liszt ed. (all from IMSLP)

The Paris edition alerts the pianist, who must choose the hand; the Peters gives no "heads-up" that the same note is in both parts; and Liszt assigns the note to one part only (using a rest instead of a zero fingering).

The Paris edition alerts the pianist, who must still choose the hand. The Peters gives no "heads-up" that the same note is in both parts. Liszt assigns the note to one part only (using a rest instead of a zero fingering); however it gives the impression that that this is what the composer wrote.

Example of a alternative editorial handling: C.M. von Weber, Piano Sonata n.2 Op.39, 8th m. from end of last movement: Paris ed. ca. 1868; Peters ed.; Liszt ed. (all from IMSLP)

Examples of alternative editorial decisions: C.M. von Weber, Piano Sonata n.2 in Ab Major, Op.39, 8 measures from end of last movement: Paris ed. ca. 1868; Peters ed.; Liszt ed. (all from IMSLP)

The Paris edition alerts the pianist, who must choose the hand; the Peters gives no "heads-up" that the same note is in both parts; and Liszt assigns the note to one part only (using a rest instead of a zero fingering).