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b. 205
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composition: (Op. 4), Sonata in C minor, Mvt I
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As in analogous bar 41, in the main text we leave the literal interpretation of the A slur. In GE (→FE,EE,IE) it was routinely adjusted to the half-bar quaver group. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions |
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b. 205
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The little vertical line visible in A close to the g1 quaver could be the first of a series of additional crotchet stems prolonging the top notes of the broken L.H. octaves. However, according to us, it is more likely that this series starts from f1, which draws our attention to the harmonic sequence, which becomes more functional from this place on – two perfect cadences in C minor and a modulation to G. The omitted crotchet stem to f1 in the editions is most probably a mistake. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A |
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b. 205-206
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composition: Op. 12, Variations in B♭ major
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The absence of four accents in GE suggests that they were added in the last stage of proofreading FE, after the copy meant as the basis for GE had been sent to Leipzig. However, the marks could have also been omitted due to the GE1 engraver's inattention. category imprint: Differences between sources issues: Errors in GE , Authentic corrections of FE |
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b. 206
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composition: Op. 43, Tarantella
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In all the sources except GE category imprint: Differences between sources |
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b. 206
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composition: Op. 43, Tarantella
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In A there is no category imprint: Differences between sources |
was omitted before the first quaver in the LH part.
1 in the LH part.