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b. 33-34
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composition: (Op. 4), Sonata in C minor, Mvt IV
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As was the case with the R.H. accents, we also reproduce the two marks in the L.H. part as long accents. The difference in the length of the marks between the right and the left hands in GE (→FE,IE) is noteworthy – the L.H. marks are much longer; they could be considered long accents. We reproduce them as diminuendo hairpins to illustrate the way these marks were understood by engravers – the difference in length corresponds to the gaps between notes, which in the case of L.H. crotchets are twice as big as in the case of R.H. quavers. This means that they were seen as diminuendoes referring to pairs of adjacent notes. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , GE revisions |
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b. 36-39
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composition: (Op. 4), Sonata in C minor, Mvt IV
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We interpret the short accents placed between the notes as long accents – see bars 32-35. category imprint: Graphic ambiguousness issues: Long accents |
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b. 36-39
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we add cautionary flats to f1 in bar 36 and 38 and to f in bar 39. category imprint: Editorial revisions |
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b. 38
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A there are no naturals to the last L.H. crotchet (A). The patent oversight was corrected in GE (→FE,EE,IE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 38-39
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text, we do not include the inauthentic fingering added by EE. The digit placed in EE1 over d1 in bar 39 (1, i.e. the 2nd finger) is mistaken, and was corrected in EE2 to 4 (5th finger). category imprint: Differences between sources issues: EE revisions |
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