b. 14
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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. 14-15
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composition: (Op. 4), Sonata in C minor, Mvt II
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In A the to the bottom note of the 1st L.H. octave is missing. The patent inaccuracy was corrected in GE (→FE,EE,IE). Moreover, cautionary flats were added to the B1-B octave in bar 15, which we include in the main text. category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 15
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composition: (Op. 4), Sonata in C minor, Mvt II
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In the main text we reproduce the mark after A. In GE (→IE) it was moved under the 3rd crotchet, while in FE and EE even further. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies |
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b. 17
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composition: (Op. 4), Sonata in C minor, Mvt II
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The missing wedge is most probably due to an oversight by the EE engraver. category imprint: Differences between sources issues: Errors in EE |
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b. 18
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composition: (Op. 4), Sonata in C minor, Mvt II
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We assume that the A mark refers to the R.H. minim, which results from the unquestionable notation of the three following, analogous bars. Therefore, it is a long accent, which is also confirmed by the evident accents in the next bars. In GE (→FE,EE,IE), although the position of the mark also points to the R.H., its length was adjusted to the L.H. triplet, as a result of which it looks more like a hairpin. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |