Articulation, Accents, Hairpins
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b. 13-14
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composition: (Op. 4), Sonata in C minor, Mvt II
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We interpret the 4 staccato marks visible in A as dots, although the first and fourth could be considered wedges if the context were different. This fact partially explains the use of wedges in GE (→FE,EE,IE). Nevertheless, we consider this interpretation much less likely. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Wedges , Inaccuracies in A |
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b. 14
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composition: (Op. 4), Sonata in C minor, Mvt II category imprint: Differences between sources issues: Errors in FE , Errors in EE |
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b. 17
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composition: (Op. 4), Sonata in C minor, Mvt II
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The missing wedge is most probably due to an oversight by the EE engraver. category imprint: Differences between sources issues: Errors in EE |
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b. 18
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composition: (Op. 4), Sonata in C minor, Mvt II
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We assume that the A mark refers to the R.H. minim, which results from the unquestionable notation of the three following, analogous bars. Therefore, it is a long accent, which is also confirmed by the evident accents in the next bars. In GE (→FE,EE,IE), although the position of the mark also points to the R.H., its length was adjusted to the L.H. triplet, as a result of which it looks more like a category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 19-21
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composition: (Op. 4), Sonata in C minor, Mvt II
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GE (→FE,EE) considered the very characteristic long accents visible in A in bar 19 and 21 to be common, short accents. The absence of these marks in EE is most probably due to the engraver's mistake. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Errors in EE |
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