Issues : Wedges
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b. 25
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composition: Op. 10 No 11, Etude in E♭ major
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The wedge visible in A over the 1st chord in the R.H. was omitted in FE. In the remaining sources a dot was added here. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions , Wedges |
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b. 25
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composition: Op. 10 No 5, Etude in G♭ major
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The wedge over the 1st octave, written in A, was reproduced as a dot in FE (→GE,EE; omitted in EE2). category imprint: Differences between sources issues: Errors in EE , Wedges |
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b. 25-26
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composition: Op. 10 No 4, Etude in C♯ minor
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The octave in the R.H. is provided in FE (→EE) with a wedge in bar 25 and with a dot in bar 26. It is probably a result of misunderstanding of the notation of [A] (perhaps inaccurate). In GE1 (→GE1a) in both places there are dots, moreover, a dot was added – most probably by mistake – also over the octave in the L.H. It is hard to assume whether the omission of the signs in the R.H. in the subsequent GE is a result of a revision or of a mistake. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE , Errors in GE , Wedges |
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b. 25-27
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composition: Op. 11, Concerto in E minor, Mvt I
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According to us, the wedges with which the accompanying chords in the L.H. were provided in FE (→GE,EE) are a result of misunderstanding the notation of Atut in bars 26-27, where the repeated chords are written in an abbreviated manner as minims with quaver tremolos. Willing to draw the attention to this abbreviation, Chopin marked the individual quavers with dashes, which he then tried to transform into dots, generally used for this purpose. This measure turned out ineffective, whereas the engraver (reviser?) not only included the wedges, in spite of renouncing the abbreviation, but he also propagated wedges in bar 25. However, since the wedges do not mark articulation, they are superfluous and misleading in a notation that does not make use of abbreviations. Taking into account the above considerations, we do not include them in the main text. category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources issues: Errors in FE , Corrections in A , Wedges , Inaccuracies in A |
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b. 25-33
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composition: Op. 50 No. 1, Mazurka in G major
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In b. 25 and 33, taking into account the possibility of an inaccurate, simplified interpretation of possible wedges of [A2] by GE, in the main text we give the wedges written in A1. The interpretation of those marks in FE is most probably inaccurate. category imprint: Differences between sources issues: Inaccuracies in FE , Wedges |
