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b. 40
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composition: (Op. 4), Sonata in C minor, Mvt II
..
As in bar 8, of which these bars are a non-written-out repetition, the interpretation of the staccato marks as dots or wedges is questionable. We consider the literal interpretation of A and the solution suggested in the main text to be possibly authentic. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions |
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b. 40-42
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composition: (Op. 4), Sonata in C minor, Mvt II
..
As in bars 8-10, of which these bars are a non-written-out repetition, In EE1 a mistake was committed by printing the text of bars 40-41 (without the majority of performance markings) in place of bars 41-42 (the L.H. part). In EE2 the defect was corrected. category imprint: Differences between sources |
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b. 41-42
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composition: (Op. 4), Sonata in C minor, Mvt II
..
As in bars 9-10, of which these bars are a non-written-out repetition, EE overlooked the dynamic hairpin concerning the R.H. part. category imprint: Differences between sources |
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b. 42
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composition: (Op. 4), Sonata in C minor, Mvt II
..
As in bar 10, of which this bar is a non-written-out repetition, the missing dot is most probably an oversight by the GE engraver (→FE,EE,IE). category imprint: Differences between sources |
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b. 43
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composition: (Op. 4), Sonata in C minor, Mvt II
..
As in bar 11, of which this bar is a non-written-out repetition, in the main text we provide the A slur. The fact that the slur was shortened and doubled in GE (→FE,EE,IE) was an arbitrary decision of the GE1 engraver/reviser. category imprint: Differences between sources |
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