GE2
Main text
½A - Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE - German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE - English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
compare
  b. 414-415

Dots in A (possible reading) & GE2

Wedges in A

No marks in GE1 (→FEEE)

It is uncertain what kind of staccato marks Chopin used in A at the beginning of these bars. The sign in bar 414 seems to be a small wedge, whereas the one in 415 – rather a dot. When repeating this fragment, Chopin wrote only one mark – a dot in bar 454. According to us, one can safely assume that Chopin had one type of marks in mind. The argument for wedges is the rhythmic similarity of these bars to bars 409-410, in which the use of wedges does not raise major doubts. On the other hand, the difference in articulation between these pairs of bars seems to be justified by a harmonic difference, particularly the change of mode from major to minor. In this situation, it is both the dots and the wedges that can be considered to be corresponding to Chopin's intention. No staccato marks in GE1 (→FEEE) must be an oversight, whereas GE2 added dots.

Compare the passage in the sources »

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE, GE revisions, Wedges

notation: Articulation, Accents, Hairpins

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