Issues : Wedges
b. 9-10
|
composition: Op. 28 No. 18, Prelude in F minor
..
A (→FC) feature distinct wedges above the R.H. chords. With the layout of the manusripts – lower notes of the R.H. chords wirtten on the lower staff – those marks pertain certainly to both hands, hence we also add wedges below the L.H. octaves. This solution was adopted already in FE (→EE), although only in bar 10. EE (→EE) in bar 9 and GE in both bars reproduce the mark as a staccato dot (in the R.H. only). category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , FE revisions , Wedges |
|||||||||||
b. 10
|
composition: Op. 2, Variations, complete
..
We attribute the change of dots to wedges to the engraver's carelessness (manner?), since there are many more such changes of staccato marks, musically unjustified, e.g. in b. 14 or 35. See also b. 271-272. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
|||||||||||
b. 11-12
|
composition: Op. 28 No. 18, Prelude in F minor
..
In the main text, we add – as in bars 9-10 – separate wedges to the :\L.H. octaves. In the discussed bars, this notation also occurs in FE (→EE). The mark in b. 12 was overlooked in FC (→GE), and the other (a wedge in b. 11) was reproduced in GE as a staccato dot. category imprint: Differences between sources; Editorial revisions issues: GE revisions , FE revisions , Wedges , Errors of FC |
|||||||||||
b. 12
|
composition: Op. 25 No 11, Etude in A minor
..
The wedge in GC, confirmed by EE, was reproduced in GE as a staccato dot. Therefore, the evaluation of the authenticity of the dot in FE also advises caution. The tendency to interpret wedges as dots was very clear in the B&H publishing houses – cf., e.g., the Nocturne in D major, Op. 27 No. 2, bar 12 or the Scherzo in C minor, Op. 39, bar 18. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Wedges |
|||||||||||
b. 13-14
|
composition: Op. 28 No. 18, Prelude in F minor
..
Each of the chords on the 2nd beat of these bars is provided with a pair of staccato marks in A (→FE→EE), one for each hand. The change of notation with respect to the previous bars can be explained by the change of layout – the R.H. chords are written entirely on the top stave here, as a result of which the validity of the marks placed over the R.H. in the L.H. is not so obvious anymore. According to us, it is another argument confirming the accuracy of our interpretation of the marks in b. 9-12. category imprint: Differences between sources; Editorial revisions issues: Errors in GE , Wedges , Inaccuracies in FC |