Issues : Inaccuracies in GE
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b. 71-72
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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GE1 ends a page on bar 71, and the slur reaches the end of that bar. This may suggest a possible continuation of the slur in the next bar or a tenuto ending of the slur. In bar 72 a new slur starts from the beginning of the bar in support of the latter, and that is how we reproduce it in our system. In any case this amounts to the engraver's inaccuracy, amended in GE2. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , GE revisions , Uncertain slur continuation , Tenuto slurs |
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b. 87
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The notation of this bar is an example of Gutmann's carelessness, who would sometimes put other signs and slurs more or less accurately, without controlling their actual compatibility both with [A] and the music sense. The slurs were partially repeated in GE1 and corrected only in GE2. category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Errors of GC |
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b. 90
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The notation of accidentals is inaccurate in the majority of the sources, which, however, does not cause any difficulties in the interpretation of the text. In the 2nd half of the bar, GC and FE have only one sign: a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , GE revisions , Cautionary accidentals , Omission of current key accidentals , Inaccuracies in GC |
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b. 91
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The missing staccato dot in all sources except for GC is probably a result of the engravers' inaccuracy. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 93
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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It is not certain whether the dot, visible in GC near the bottom note of the 1st octave in the bar, is a staccato dot or an insignificant ink fleck. The sign is absent in all other sources, which, however, cannot be considered to be a conclusive argument. In the main text we include the dot, as the staccato articulation results here in a natural way from the piano texture, as well as due to the similarly marked chord at the beginning of bar 91. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE |
before the last chord in the R.H., whereas in 
2 to g2. 
