Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
(Op. 4), Sonata in C minor
Op. 11, Concerto in E minor, Mvt III
In bars 458-459, 462-463, 466-467 and 470-471 in FE (→EE), the majority (6 out of 8) of the figures consisting of a semiquaver triplet and a quaver is provided with a staccato mark at the end. At the same time, wedges are twice more frequent than dots. According to us, there is no reason to assume that those differences are not simply accidental inaccuracies; therefore, in the main text we give wedges in all eight figures. Similar, unifying procedures were introduced already in GE1 (→GE2), where a wedge was added in bar 467, and in GE3, where a dot was changed to a wedge in bar 471.
category imprint: Editorial revisions
issues: Wedges
notation: Articulation, Accents, Hairpins
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