Issues : Wedges
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b. 35-36
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composition: Op. 2, Variations, complete
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In A the staccato markings over the semiquavers are evidently represented by dots and clearly differ from, e.g. the wedges at the beginning of b. 35 or b. 39. According to us, the wedges in GE (→FE,EE) were an arbitrary decision of the engraver, who blithely approached the Chopinesque staccato markings on a number of occasions – cf., e.g. b. 10. By contrast, adding marks on the 4th beat of the bar, although without effect on performance – in both cases the marks serve as an example and should be propagated to all semiquavers in these bars – seems to be justified and may have come from Chopin (see also the note on b. 39-40). However, we believe that these two issues can be considered independently, hence in the main text we give dots (after A) in the entire 2nd half of the bar (after GE1). category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE , Wedges |
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b. 36
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composition: Op. 24 No. 3, Mazurka in A♭ major
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The first editions have a staccato dot instead of a wedge written in A. Such an inaccuracy is characteristic of GE (→FE→EE) throughout the entire Mazurka. AI does not have any mark here. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 36-37
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composition: WN 17, Polonaise in B♭ major
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The articulation markings on the 1st and 2nd beats of both bars come from PE. Cf. bars 8-10. A combination of a wedge and the following it dots under a slur is often to be found in Chopin's works, e.g., in the Nocturne in D category imprint: Differences between sources issues: Wedges |
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b. 38-40
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composition: Op. 10 No 3, Etude in E major
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The sources show numerous differences, as far as the indications of articulation of the first semiquavers in these bars are concerned, while the signs in particular sources are so inconsistent that it is hard to determine Chopin's intention in this issue. As it does not seem that Chopin intervened in the text of the editions in this respect, we consider A as the only authoritative source. In the main text we give the notation of A in the completed version, as Chopin additions of articulation in the L.H. in bar 37 and the dot at the beginning of bar 39 indicate the will to explicitly indicate the staccato articulation of the semiquavers in the L.H. in this section. Therefore, it seems to be rational to add dots at the beginning of bars 38 and 40. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE , Errors in EE , GE revisions , Wedges |
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b. 39-40
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composition: Op. 10 No 8, Etude in F major
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It is hard to determine whether the omission of the additional slur visible in A was intentional. Similarly, the status of replacing the wedge with a staccato dot is also uncertain. In the main text we adopt the version of FE (→GE1,EE), which is compliant with the notation of bars 37-38 and was potentially accepted by Chopin at the time of proofreading FE. In GE2 (→GE3→GE4) the dot was omitted. category imprint: Differences between sources issues: Inaccuracies in FE , Wedges |
major, Op. 27 No. 2, bars 
