Fingering
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b. 101-102
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the inauthentic L.H. part fingering added by EE. The difference between the two EE impressions was caused by the fact that the authentic layout of the 2nd half of bar 101, in which the group of 4 L.H. quavers is written on the top stave (changed in the main text, yet kept in the transcriptions of the sources), confused the reviser preparing EE2. He assumed that the EE1 fingering, aptly suggesting that these quavers are to be performed by the L.H., was erroneous and changed it to the fingering adjusted to the R.H. category imprint: Differences between sources |
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b. 104-107
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the inauthentic R.H. part fingering added by EE in bar 104 and 106-107. See also bar 112 and 115-116 and 118-120 and 123-124. category imprint: Differences between sources issues: EE revisions |
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b. 112-116
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the inauthentic L.H. part fingering added by EE in bar 112 and 115-116. category imprint: Differences between sources issues: EE revisions |
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b. 123-124
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we omit the inauthentic R.H. part fingering added by EE. category imprint: Differences between sources issues: EE revisions |
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b. 126-130
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composition: (Op. 4), Sonata in C minor, Mvt I
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In the main text we do not include the inauthentic fingering added by EE in bars 126-128 and 130. See also bar 131, 133-138 and 139-142. category imprint: Differences between sources issues: EE revisions |
