The Marrowick winter concert survives in two printed programmes. Their headings, paper and order of pieces are the same. In one, the violin solo belongs to Edmund Fane. In the other, it belongs to Ruth Vey. The change appears cleanly in type, without a pasted correction or an explanation addressed to the audience.
Fane had expected to arrive by the afternoon carrier. When that arrangement failed, Vey agreed to take his place. She knew the announced piece, but played it in a different edition. The accompanist's pencilled marks suggest that the first rehearsal involved more comparison than music, with both players locating the passages each expected to find.
The printer had already completed most of the programmes when the change was confirmed. Rather than reset the whole sheet, he altered the relevant line and ran a smaller second batch. The earlier copies were not destroyed. They remained useful at rehearsal and were carried away by people helping to prepare the room.
A few surviving examples consequently record the plan rather than the performance. They are not careless copies, nor evidence that two concerts occurred. They belong to different moments in the preparation of one evening. Handwritten cues in the older version explain why a superseded programme might still be worth keeping.
The difference is slight enough to disappear in a short catalogue description. Yet it changes how the event can be understood. A programme is an intention made public. Sometimes the most informative copy is the one that preserves the intention which had to be revised before the first note was played.