Page: 
Source: 
p. 1, b. 1-30
p. 1, b. 1-30
p. 2, b. 31-58
p. 3, b. 59-94
p. 4, b. 95-129
p. 5, b. 130-160
p. 6, b. 161-193
p. 7, b. 194-224
p. 8, b. 225-252
p. 9, b. 253-287
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Main text
GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
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Graphic ambiguousness
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Articulation, Accents, Hairpins
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GC - Gutmann's Copy
FE - French edition
FE1 - First French edition
FE2 - Second impression of FE
FE3 - Third impression of FE
FE4 - Fourth impression of FE
FESch - Scherbatoff Copy
FES - Stirling copy
FED - Dubois copy
GE - German edition
GE1 - First German edition
GE2 - Corrected impression of GE
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE
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  b. 2-4

Wedges in GC & FE

Dots in GE

No signs in EE

Staccato dots at the beginning of bars 2 and 4 consist the most glaring example of German engraver's misrepresenting wedges in GC – the difference between wedges there and dots in neighbouring bars 1, 3 & 5-7 is very distinct. GE did not use any wedges in the whole Sonata. The lack of signs in EE is most probably an oversight.

Compare the passage in the sources »

category imprint: Differences between sources

issues: Inaccuracies in GE, Errors in EE, Wedges

notation: Articulation, Accents, Hairpins

Missing markers on sources: FE2, FES, FED, FESch, FE3, FE4, GE1, GE2, EE1, EE2