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b. 230-232
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The accents over a3 in bar 230 and over a2 in bar 232 are undoubtedly long in A. Nevertheless, in GE (→FE,IE) they were reproduced as short accents, perhaps due to the significantly more dense text. The omission of one (in IE) or both (in EE) marks is due to the mistakes by the engravers of those editions. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Errors in EE , Errors in IE |
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b. 230
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composition: (Op. 4), Sonata in C minor, Mvt IV
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It is the engraver of EE who is responsible for the absence of the category imprint: Differences between sources issues: Errors in EE |
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b. 230
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The overlooked tie to g3 is one of a few mistakes by EE in this bar. category imprint: Differences between sources issues: Errors in EE |
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b. 230-231
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The missing slurs between the bars are a patent mistake by the engraver of EE. category imprint: Differences between sources issues: Errors in EE |
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b. 231-235
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composition: Op. 39, Scherzo in C♯ minor
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Both versions of the slurring found in the sources give rise to certain doubts. The slurs of EE and GC are inconsistent with the slurring in analogous bars 187 and – despite the differences – 481. Also the continuous slur of FE, more justified from the musical point of view, may be a simplified (inaccurate) rendition of the manuscript, as is testified by the slur in GE, which is after all based on GC. As our main text we adopt the slur of FE, but taking into account all the possible notation inaccuracies and misunderstandings, we also propose slurring consistent with the version of bar 187. category imprint: Differences between sources issues: Inaccuracies in GE , EE inaccuracies , Inaccuracies in GC |
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