Issues : Wedges
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b. 100
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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The staccato sign here is in the form of a short thin line, differing from the usual, point-like dots. A comparison with analogous places in the text (bars 14, 38 and similar ones) suggests inaccurate notation of A (uncontrolled hand movement). category imprint: Graphic ambiguousness issues: Wedges |
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b. 109
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the main text we include the wedge written in AF. The mark is very long and distinct, hence it is difficult to overlook it. Its absence in FE (→EE) may result from a misunderstanding – the engraver could have interpreted it as a crossed-out dot. See also b. 115. category imprint: Differences between sources issues: Errors in FE , Wedges |
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b. 111
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composition: Op. 11, Concerto in E minor, Mvt II
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Differentiation between the staccato marks in FE (→EE) – a wedge in bar 111 and a dot in bar 113 – could have been intended by Chopin, although being deprived of access to [A], one cannot exclude a mistake in the manuscript's reproduction. Unification of the markings in GE is almost certainly an arbitrary revision; according to us, a possible use of wedges in both bars is much more likely, since young Chopin considered them the basic marking of staccato. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 111
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composition: Op. 11, Concerto in E minor, Mvt I
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In Atut, the first third in this bar is provided with two staccato marks – a dot under the notes and a wedge over them. Chopin perhaps put the second mark sometime after the first one, which he did not notice when reviewing the manuscript. However, it is uncertain which of the marks was "first." In the main text, we decided to put the wedge, more frequently used by Chopin in that period of his life in similar situations. In FE (→EE), there is a dot, which was probably overlooked in GE. category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions , Wedges |
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b. 114-115
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composition: Op. 2, Variations, complete
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The slurs in AsI – the only performance markings in this variation together with the wedge over c2 in b. 114 – could have a rhythmic (triplet slurs) or a motivic meaning. Anyways, Chopin abandoned them in the published version; instead, he wrote here staccato dots, which in GE1 and in the remaining editions were routinely replaced with wedges. category imprint: Differences between sources; Corrections & alterations issues: GE revisions , Wedges |
