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b. 52-53
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In A the accents differ significantly in terms of their size – the mark in bar 52 is a quite characteristic long accent, while the one in bar 53 corresponds to the atypical marks in bars 40-42. Taking into account the arguments presented there, in the main text we reproduce both as long accents. This is how they were interpreted by GE (→FE). The GE notation was distorted both by EE and IE, although each in a different way. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , EE revisions , GE revisions , Inaccuracies in A , |
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b. 54
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we suggest adding accents after the previous analogous phrases. Marks – long accents – were added already in GE (→FE,IE), and in EE they were reproduced as short accents. category imprint: Differences between sources; Editorial revisions issues: Long accents , GE revisions , EE inaccuracies |
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b. 56
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The missing wedge in EE1 is due to the engraver's mistake, corrected in EE2 by adding a staccato dot. This place could have been revised after comparing it with FE, in which such a mark was used, most probably by mistake. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , Errors in EE , Wedges |
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b. 57
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The additional FE slur could be a mistake or an erroneous revision – we know of similar situations in which engravers would add an allegedly missing slur/tie when a few notes of adjacent chords are combined by authentic slurs/ties, e.g. in the Mazurka in D, Op. 33 No. 3, bars 8-9 and 24-25 or in the Mazurka in B, Op. 41. No. 2, bars 4-5 and analog. category imprint: Differences between sources issues: FE revisions |
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b. 57
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text we add a cautionary category imprint: Editorial revisions |
in 
to c3.