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b. 8
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composition: (Op. 4), Sonata in C minor, Mvt II
..
The staccato marks over the R.H. chords are rather wedges in A, and this is how they were interpreted in GE (→FE,EE,IE). By contrast, the marks in the L.H. part must be dots, hence reproducing them as wedges seems wrong. According to us, the change of dynamics corresponds with milder articulation, hence it is more likely that the chords were marked inaccurately. Therefore, we consider the literal interpretation of A and the solution suggested in the main text to be potentially authentic. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Wedges , Inaccuracies in A |
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b. 8
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composition: (Op. 4), Sonata in C minor, Mvt II
category imprint: Differences between sources issues: Errors in FE , Errors in EE |
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b. 8-10
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composition: (Op. 4), Sonata in C minor, Mvt II
..
In bars 9-10 EE1 printed the text of bars 8-9 for the L.H. part, devoid of the majority of performance markings (except the category imprint: Differences between sources issues: EE revisions , Errors in EE |
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b. 9-10
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composition: (Op. 4), Sonata in C minor, Mvt II
..
Omission of the dynamic hairpin referring to the R.H. is one of the many EE1 mistakes, in this case uncorrected by EE2. category imprint: Differences between sources issues: Errors in EE |
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b. 10
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composition: (Op. 4), Sonata in C minor, Mvt II
category imprint: Differences between sources issues: Errors in GE |
& 
in 
in bar 10). The mistake is serious enough to hamper the reconstruction of the correct text, hence we do not provide the content transcription here. 
& 
