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b. 240
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composition: (Op. 4), Sonata in C minor, Mvt IV
..
It is unclear whether the A mark is to be understood as a long accent or as a diminuendo – both versions seem to be musically acceptable. In the main text we provide an accent due to the shape of the mark, closer to accents. Moreover, according to us, the beginning of the tenor voice motif, emphasised by a slur, is another argument for an accent. In GE (→FE,EE,IE) the mark, extended between both crotchets, is definitely a diminuendo. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 242
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composition: (Op. 4), Sonata in C minor, Mvt IV category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
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b. 248
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composition: (Op. 4), Sonata in C minor, Mvt IV
..
The arched line visible in A, going through to the next bar, seems to continue the bottom arm of the category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information issues: Inaccuracies in GE , Corrections in A |
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b. 249
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composition: (Op. 4), Sonata in C minor, Mvt IV
..
The shorter GE slur (→FE,EE,IE) – it ends in the preceding bar – most probably resulted from a misunderstanding of the A notation. See the note at the end of bar 248. category imprint: Differences between sources |
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b. 249
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composition: (Op. 4), Sonata in C minor, Mvt IV
..
The absence of the wedge in GE (→FE,EE,IE) is most probably due to an oversight by the engraver of GE. category imprint: Differences between sources issues: Errors in GE |
in 
to the last note (a2) is missing, which was corrected in 
hairpin. However, according to us, it is an illusion – it was probably added as an extension to the slur, since extending one arm of the 
