Is there any example of an especially classical piece where the legato is written in two different ways?
I mean a composition with two different types of Legato markings, both of which are accepted.
By acceptance, my question is
Legato, after the choice of the composer
Legato because of technicality for orchestrations or to be technically eased or in another way better.
Is there any example of former composers or those now living who did compositions without legato but got them marked later on and also fingerings or similar for their compositions by others?