It is always frustrating, in these days of necessarily limited rehearsals, when the all-too-short time that one has allocated to a piece becomes beset by boring textual problems. Valuable minutes can slip away, while the point under discussion may make no appreciable difference whatever to the actual performance; and it is all the more galling when (as often in the present work) dissection eventually reveals the score to be more likely at fault, the parts probably correct, and therefore the dissection itself to have been an entire red herring.