Articulation, Accents, Hairpins
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b. 30
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composition: (Op. 4), Sonata in C minor, Mvt II
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In A it is unclear whether the two staccato marks are to be interpreted as dots or wedges. We assume that they are dots due to the clear dot in the preceding bar. This is how the second mark – the first one was omitted – was interpreted in GE (→FE,EE,IE). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Wedges |
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b. 30
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composition: (Op. 4), Sonata in C minor, Mvt II
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In A the wedge over the R.H. crotchet on the 2nd beat of the bar blends in with the line of the octave sign, which almost certainly was the reason this mark was omitted in GE (→FE,EE,IE). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A |
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b. 31
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composition: (Op. 4), Sonata in C minor, Mvt II
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As was the case with dimin., the absence of a category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 34-36
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composition: (Op. 4), Sonata in C minor, Mvt II
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The staccato dots added in FE on the 3rd beat of each of these bars – in bar 34 and 36 in the R.H., in bar 35 in the L.H. – are an arbitrary addition, without their counterparts in analogous bars 1-4 (the R.H. dots could have been repeated after a similar motif in bar 12). category imprint: Differences between sources issues: FE revisions |
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b. 37
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composition: (Op. 4), Sonata in C minor, Mvt II
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Replacing the Chopinesque category imprint: Differences between sources issues: Errors in EE , GE revisions |
in 
between staves in 
