Issues : Wedges
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b. 23
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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In A it is not quite clear which of the staccato signs Chopin had in mind: a dot or a wedge. In our view, a dot is much more likely. The sign was omitted from GE1 (→FE→EE), and put back in GE2 (→GE3). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 24
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composition: Op. 10 No 5, Etude in G♭ major
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In the main text we give the wedge written over the 1st quaver in A (→FE→GE1,EE). From GE2 on, the sign was changed into a dot. In all GE,s a dot over the chord on the 2nd quaver was also added. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 24-25
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composition: Op. 10 No 9, Etude in F minor
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According to us, it is highly unlikely that the wedges over d category imprint: Differences between sources issues: Inaccuracies in FE , Wedges |
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b. 24
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composition: Op. 21, Concerto in F minor, Mvt I
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The missing staccato sign is certainly a result of inaccuracy of the engraver of GE1. In the sign written in A one could also see a wedge; however, we assume – as it was done in GE2 – that Chopin meant the same sign in both hands (the dot in the R.H. is beyond any doubt). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in GE , GE revisions , Wedges |
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b. 25-28
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composition: Op. 10 No 2, Etude in A minor
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In the main text we give three staccato dots, at the beginning of bars 25-27, written by Chopin in FEcor. In finished FE (→GE,EE) only the dot in bar 26 was printed. Ap displays a richer set of staccato markings. category imprint: Differences between sources issues: Authentic corrections of FE , Wedges |
1, which are present only in 
