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(Op. 4), Sonata in C minor, Mvt III

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b. 28

composition: (Op. 4), Sonata in C minor, Mvt III

..

In the main text we add a cautionary  to a.

category imprint: Editorial revisions

b. 29

composition: (Op. 4), Sonata in C minor, Mvt III

..

In the main text we add cautionary accidentals – a  to d2 and a  to c1. On the other hand, we omit the  to the g1 semiquaver, unnecessarily repeated in A. The latter was also performed in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

b. 29

composition: (Op. 4), Sonata in C minor, Mvt III

 in A (literal reading→GE→FE,IE) & EE2

Long accent in A, contextual interpretation

No mark in EE1
..

We interpret the  mark entered into A as a long accent – the mark concerns the R.H. top voice, which results from its position, and it naturally emphasises the syncopated c2 crotchet. The A notation was precisely reproduced in the editions (except EE1, in which the mark was overlooked), which, in the case of printed text, suggests rather a diminuendo hairpin.

category imprint: Graphic ambiguousness

issues: Long accents

b. 29

composition: (Op. 4), Sonata in C minor, Mvt III

Slur from e2 in A

Slur from g2 in GE (→FE,EE,IE)
..

According to us, despite numerous cases of inaccurate slurs in A, in this place there is no reason for prolonging the slur, as it was done in GE (→FE,EE,IE). Therefore, in the main text we reproduce the A notation.

category imprint: Differences between sources

issues: GE revisions

b. 29-30

composition: (Op. 4), Sonata in C minor, Mvt III

Slur to e1 in A (literal reading→GE→FE,EE,IE)

Slur to e1 in A, possible interpretation
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The range of the A slur is unclear. According to us, the slur suggests that it should be continued to the e1 semibreve. The interpretation of the editions can be considered an equal variant.

category imprint: Editorial revisions

issues: Inaccurate slurs in A