mUltimate Chopin

Text Compare Notes Sources Description

Issues : Wedges

Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 34-35

composition: Op. 10 No 11, Etude in E♭ major

Wedges in A

Dots in FE (→GE,EE)
..

In the main text we give the wedges written in A. In the editions they were reproduced as dots. Cf. bars 2-14.

category imprint: Differences between sources

issues: Wedges

b. 34

composition: Op. 10 No 4, Etude in C♯ minor

Wedge in AI

Dot in FE (→GE,EE)
..

According to us, the dot in FE (→GE,EE) does not give certainty as to which sign Chopin used to mark staccato in [A]. The Etudes and other pieces provide numerous examples of inaccurate interpretation of Chopin wedges.

category imprint: Differences between sources

issues: Wedges

b. 34

composition: Op. 11, Concerto in E minor, Mvt II

Staccato dot in FE (→EE)

Dot in GE
..

The staccato dot present in GE is most probably an inaccuracy of the engraver of that edition.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 35

composition: Op. 24 No. 2, Mazurka in C major

A wedge in A

A dot in GE (→FE→EE)
..

What is clearly a wedge in A has been reproduced in GE (→FE→EE) as a dot. The entire Opus 24 has only dots as staccato signs in the first editions.

category imprint: Differences between sources

issues: Inaccuracies in GE , Wedges

b. 35-36

composition: Op. 2, Variations, complete

4 staccato dots in A

8 wedges in GE (→FE,EE,FESB)

8 dots suggested by the editors
..

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