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b. 230
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In GE (→FE,EE,IE) the dots over the three L.H. chords were added probably by analogy with bar 231. We do not include them in the main text, leaving the choice of articulation to the performer. However, taking into account the fact that the use of staccato can be considered the most likely option, we consider the version of the editions to be an acceptable variant. category imprint: Differences between sources issues: GE revisions |
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b. 230-232
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The accents over a3 in bar 230 and over a2 in bar 232 are undoubtedly long in A. Nevertheless, in GE (→FE,IE) they were reproduced as short accents, perhaps due to the significantly more dense text. The omission of one (in IE) or both (in EE) marks is due to the mistakes by the engravers of those editions. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Errors in EE , Errors in IE |
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b. 230
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composition: (Op. 4), Sonata in C minor, Mvt IV
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It is the engraver of EE who is responsible for the absence of the category imprint: Differences between sources issues: Errors in EE |
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b. 230
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The overlooked tie to g3 is one of a few mistakes by EE in this bar. category imprint: Differences between sources issues: Errors in EE |
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b. 230-231
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composition: (Op. 4), Sonata in C minor, Mvt IV
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The missing slurs between the bars are a patent mistake by the engraver of EE. category imprint: Differences between sources issues: Errors in EE |
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