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b. 124
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The mark visible in A over the d category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , Inaccuracies in A |
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b. 124
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composition: (Op. 4), Sonata in C minor, Mvt IV
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When interpreted literally, the A slur reaches the last note in the bar. However, in the next bar, in a new line, the slur clearly shows that it should have been continued, which is also confirmed by the slurs in the similar situations in bars 126-127 and 128-130. This ambiguous notation was reproduced in GE and EE2 (in EE1 the slur was omitted). In FE and IE there is a continuous slur, in accordance with our interpretation. category imprint: Graphic ambiguousness |
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b. 125-126
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The A slur reaches almost the bar line, yet its shape rather does not suggest that it was intended to be led to E, as it was reproduced in GE (→FE,EE,IE). Cf. the slurs in bar 127 and 130. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A |
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b. 125
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The staccato marks over the top voice crotchets entered into A, although slightly prolonged, do not resemble typical wedges – cf., e.g. bars 104-107. The absence of the marks in EE1 is due to the engraver's mistake, arbitrarily corrected in EE2 (the coincidence with the A notation must be accidental). category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 125-128
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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 R.H. fingering added by EE. category imprint: Differences between sources issues: EE revisions |
2 crotchet is in the shape of a small vertical accent. The comparison with the marks in the analogous situations in the next bar reassures us, however, that it was almost certainly supposed to be a staccato dot. In 
