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b. 113-115

composition: WN 29, Waltz in E minor

Pedalling in sources

No markings in main text
..

As before, in the main text we omit the pedal markings present in these bars in the sources. It was the marks given in bars 9-19 that were repeated here, inaccurately, on top of that – see the notes on bars 115-118 and 119-120.

category imprint: Editorial revisions

b. 113

composition: Op. 23, Ballade in G minor

Long accent in A, contextual interpretation

Short accent in FE (→GE,EE)
..

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents

b. 113-122

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

..

In the main text we keep the A beaming, that is quavers grouped in pairs. In GE (→FE,EE,IE) the two-quaver beams were replaced by standard four-quaver beams. A similar change was performed by the Viennese publisher of the Variations in B, Op. 2, bars 208-239. The same applies to bars 131-138.

category imprint: Differences between sources

issues: GE revisions

b. 113-114

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

 in A (→GE→IE)

Various  in A, different interpretation

Longer  in FE & EE
..

In A the range of the  hairpin in bar 114 is unclear – it starts from the 5th R.H. part quaver or from the syncopated L.H. minim. The comparison with the similarly structured preceding bar supports the latter, which we adopt to the main text. This is how it was reproduced, more or less, in GE (→IE) as well. The prolonged marks in FE and EE resulted from a routine approach of the engravers of these editions.

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Scope of dynamic hairpins , FE revisions , Inaccuracies in A

b. 113-115

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

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic R.H. fingering added by EE.

category imprint: Differences between sources

issues: EE revisions