



In the main text, we add wedges to the quavers at the beginning of the bar, since their absence in FE (→GE) can be easily explained by an oversight related to the transition into a new line of text. The virtuoso character of the figuration and a clear analogy between the progression's segments in bars 228-230 make the articulation of those quavers clear. The mark in the R.H. was added in EE.
Compare the passage in the sources »
category imprint: Differences between sources; Editorial revisions
issues: EE revisions
notation: Articulation, Accents, Hairpins