Articulation, Accents, Hairpins
b. 3
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composition: (Op. 4), Sonata in C minor, Mvt II
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In FE the length of the hairpin was probably adjusted to the slur. However, the notation of A and of the remaining sources does not suggest this kind of relation. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 3
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composition: (Op. 4), Sonata in C minor, Mvt II
category imprint: Differences between sources issues: Errors in GE |
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b. 8
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composition: (Op. 4), Sonata in C minor, Mvt II
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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. 9-10
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composition: (Op. 4), Sonata in C minor, Mvt II
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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 |