Issues : Wedges
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b. 391
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composition: Op. 11, Concerto in E minor, Mvt I
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It seems to be impossible to decide whether Chopin meant here a staccato dot (like in the next bars) or a wedge (like in the previous ones). The editors would often confuse these marks; it is also difficult to differentiate between them in the Chopinesque autographs. In the main text we give a dot, since FE is the only edition based directly on [A]. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 431
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composition: Op. 11, Concerto in E minor, Mvt I
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This is one of only two places in the entire figurational section of the development (from bar 408) in which a dot was used as a staccato mark at the beginning of the bar, instead of a wedge. According to us, it is almost certainly an inaccuracy of notation. Cf. bar 438. category imprint: Editorial revisions issues: Wedges |
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b. 438
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composition: Op. 11, Concerto in E minor, Mvt I
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As in the case of bar 431, the staccato dot is almost certainly an inaccuracy of notation, which was noticed already in EE and GE3. category imprint: Differences between sources; Editorial revisions issues: EE revisions , Inaccuracies in FE , GE revisions , Wedges |
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b. 458
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composition: Op. 11, Concerto in E minor, Mvt I
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The staccato dot featured in GE instead of wedge is probably a mistake of the engraver. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 675
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composition: Op. 11, Concerto in E minor, Mvt I
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The absence and change of the staccato mark in GE1 (→GE2) is probably a result of carelessness of the engraver. A dot for the R.H. was added in GE3. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , GE revisions , Wedges |
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