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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Pitch
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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