Issues : Wedges
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b. 14
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composition: WN 17, Polonaise in B♭ major
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We give the wedge visible in PE. One can ponder whether the lack of the sign in analogous bar 13 is not just a result of the engraver's oversight or Chopin's inaccuracy. category imprint: Differences between sources issues: Wedges |
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b. 14
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composition: Op. 2, Variations, complete
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As was the case with b. 10, the change of dots to wedges in GE (→FE,EE) does not seem to have been inspired by Chopin; however, he could have accepted it – cf. the note on slurs at the beginning of this bar. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 15
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composition: Op. 28 No. 18, Prelude in F minor
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In this bar Chopin again marked the articulation of the chords only over the R.H. part. As the performance cannot differ from the one in b. 13-14, in the main text we add marks also under the L.H. chords. Such a solution was adopted both by FC (→GE) and FE (→EE). category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: EE revisions , Errors in FE , Inaccuracies in FE , Wedges , Inaccuracies in FC |
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b. 16
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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It is not quite clear which one of the staccato signs– a dot or a wedge – Chopin had in mind here. category imprint: Graphic ambiguousness issues: Wedges |
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b. 16-23
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composition: Op. 10 No 11, Etude in E♭ major
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The chords at the beginning of bars 16, 17, 19 and 21-23 in A are provided with clear wedges (the mark in bar 17 discussed separately would not be obvious, yet in the context of the remaining ones it does not raise any doubts). In spite of this, in the editions all these marks were reproduced as dots. According to us, it is an inaccuracy of the engraver who was not familiar enough with the details of Chopin's notation. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Wedges |
