Articulation, Accents, Hairpins
|
b. 254-256
|
composition: (Op. 4), Sonata in C minor, Mvt IV
category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions , EE inaccuracies , |
||||||||
|
b. 271
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
In the main text we suggest adding an accent after the previous two passages (bar 267 and 269). The mark was also added in GE (→FE,EE,IE). category imprint: Differences between sources; Editorial revisions issues: GE revisions |
||||||||
|
b. 276-278
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
One could understand the omission of the dots in GE (→FE,EE,IE) – in A they are written close to the octave sign (consisting of dashes and dots), hence they could have been easily confused with it (particularly the one in bar 275). category imprint: Differences between sources issues: Errors in GE |
||||||||
|
b. 281
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
It is difficult to determine whether the addition of the fingering digit in EE influenced the omission of the wedge, or whether the wedge was mistakenly read as the digit 1, meaning finger 2. It is also possible that the wedge was overlooked and the digit was added independently, along with the other digits in the previous two bars. category imprint: Differences between sources issues: EE revisions , Errors in EE |
||||||||
|
b. 285
|
composition: (Op. 4), Sonata in C minor, Mvt IV
..
The change of the type of accent in FE is an inaccuracy, frequent in Chopinesque editions. The absence of the mark in EE is most probably due to the engraver's oversight. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Errors in EE |
