Page: 
Source: 
p. 14, b. 566-604
p. 1, b. 1-47
p. 2, b. 48-98
p. 3, b. 99-158
p. 4, b. 159-198
p. 5, b. 199-238
p. 6, b. 239-270
p. 7, b. 271-306
p. 8, b. 307-347
p. 9, b. 348-398
p. 10, b. 399-446
p. 11, b. 447-484
p. 12, b. 485-528
p. 13, b. 529-565
p. 14, b. 566-604
p. 15, b. 605-649
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Main text
GC - Gutmann's copy
EE - English edition
EE1 - First English edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
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Articulation, Accents, Hairpins
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GC - Gutmann's copy
EE - English edition
EE1 - First English edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FEJ - Jędrzejewicz copy
FES - Stirling copy
GE - German edition
GE1 - First German edition
GE2 - Second German edition
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  b. 596

No mark in EE

 in GC (literal reading)

Long accent in GC (contextual interpretation) & FE

 in GE

The meaning of the mark in GC in not obvious. At the first glance we have a full bar hairpin , which was interpreted as such by the engraver or revisor of GE and notated above the RH part as diminuendo must have seemed more reeasonable. However, the GC notation implies clearly that the mark does not apply solely to LH but the A1-A octave in particular, which also allows it to be seen as a long accent. FE confirms such interpretetation, where the ocatve is marked with a typical long accent.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Long accents, GE revisions

notation: Articulation, Accents, Hairpins