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b. 110

composition: (Op. 4), Sonata in C minor, Mvt IV

 in A (literal reading→GE→FE,EE,IE)

Long accent in A, contextual interpretation
..

In GE (→FE,EE,IE) the unquestionable long accent (considering the context) – cf. analogous bar 114 – was literally reproduced as a half-bar .

category imprint: Differences between sources

issues: Long accents

b. 110-111

composition: (Op. 4), Sonata in C minor, Mvt IV

No fingering in A (→GE→FE,IE)

Fingering in EE1, 5 digits

Fingering in EE2, 6 digits
..

In the main text, we do not include the inauthentic R.H. fingering added by EE1 and completed in EE2.

category imprint: Differences between sources

issues: EE revisions

b. 111-112

composition: Op. 29, Impromptu in A♭ major


 
 
..

In GE4 and FE the accents were overlooked. EE lacks half of the accents in bar 111, whereas in bar 112 the accent on the 5th quaver was changed into the vertical one. We preserve the notation of A.

category imprint: Differences between sources

b. 111

composition: Op. 29, Impromptu in A♭ major

 
 
..

A (→GE) and FE have the complete smorzando indication. In EE it was revised to the abbreviated smorz. form. In addition, in FE, contrary to the remaining sources, the indication was placed between the pentagrams.

category imprint: Differences between sources

b. 111

composition: Op. 29, Impromptu in A♭ major

..

In EE and FE the cautionary d natural was overlooked.

category imprint: Differences between sources

issues: Cautionary accidentals