|
b. 233-235
|
composition: (Op. 4), Sonata in C minor, Mvt I
..
According to us, the marks visible in A over the three L.H. minims are to be interpreted – despite the small differences in their shape and position – as long accents referring to these syncopated L.H. chords. The editions reproduced correctly (more or less) only the 2nd and 3rd mark as short accents under the L.H. minims. By contrast, the mark in bar 233 was assigned to the R.H. and, more importantly, moved a quaver earlier, which is clearly contrary to the A notation. A similarly placed, wrong mark is also in bar 234, in which the A accent was reproduced twice, once in the R.H., and once in the L.H. category imprint: Differences between sources issues: Long accents , Errors in GE |
||||||||||
|
b. 233
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
The interpretation of the slur adopted to the main text is based on the assumption that the slur is more or less symmetrical with respect to the notes it encompasses. Therefore, we interpret both ends as encompassing the outermost notes. However, as many slurs in the Sonata do not meet this assumption, the version of GE (→FE,EE,IE) can be considered an equal variant. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
||||||||||
|
b. 233-234
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
In the main text, we do not include the inauthentic R.H. fingering added by EE. category imprint: Differences between sources issues: EE revisions |
||||||||||
|
b. 234
|
composition: Op. 43, Tarantella
..
category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in GE |
||||||||||
|
b. 234-235
|
composition: Op. 43, Tarantella
..
In FE (→IE) there is no accent in bars 234 and 235. In all editions of GE there is no second accent. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE |
was added before G1 in LH. In 
1 is notated here.
