Articulation, Accents, Hairpins
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b. 40
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composition: (Op. 4), Sonata in C minor, Mvt II
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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. 41-42
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composition: (Op. 4), Sonata in C minor, Mvt II
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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
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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. 44
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composition: (Op. 4), Sonata in C minor, Mvt II
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The missing dot in EE is most probably the engraver's oversight. category imprint: Differences between sources |
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b. 45-46
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composition: (Op. 4), Sonata in C minor, Mvt II
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As in bars 13-14, of which these bars are a non-written-out repetition, we interpret the 4 staccato marks in A as dots. We consider the wedges used in GE (→FE,EE,IE) much less likely. category imprint: Graphic ambiguousness; Differences between sources |
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