Issues : Wedges
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b. 137-140
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composition: Op. 11, Concerto in E minor, Mvt III
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From bar 137 onwards, hence without a sensible relation to music, the staccato marks, with which FE (→EE,GE1→GE2) provided the bass quavers, change from wedges to dots. It applies to bars 137-138 and 140, since the marks we would expect in bars 141-142 do not appear in that sources (see the note on those bars; moreover, the first quavers in bars 138 and 140 are discussed separately). According to us, the change of marks is probably a result of an inaccurate interpretation of [A]. Due to this reason, in the main text we continue marking those quavers with wedges. Such a unification was introduced also in GE3 (to a lesser extent due to omissions of marks in bars 138 and 140). category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions , Wedges |
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b. 152
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composition: Op. 11, Concerto in E minor, Mvt III
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The wedge of GE is probably a mistake. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 244
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composition: Op. 11, Concerto in E minor, Mvt III
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It is highly likely that it was the reviser of EE that guessed Chopin's intention – it is not always easy to distinguish wedges from dots in autographs; engravers often had problems with their recognition. The wedge in the L.H. and the compliant wedges in similar situations two and four bars later support the mistake of FE (→GE). On the other hand, the discussed place shows a number of essential differences with respect to bars 246 and 248 – a single note and not an octave in the R.H., different preceding music, presence of category imprint: Differences between sources issues: EE revisions , Wedges |
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b. 386
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composition: Op. 11, Concerto in E minor, Mvt III
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The wedge in GE1 (→GE2) is most probably a mistake. On the other hand, one can ponder whether it could be the dots that were printed in FE by mistake in place of wedges. The main theme of this movement, out of which the motif of this and the next bar is derived, was being provided with both types of markings throughout the entire movement, yet in this fragment it is generally wedges that prevail; we can observe them, e.g. next to the bass notes in bars 386-388 and next to a chord in the R.H. in bar 387. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , GE revisions , Wedges |
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b. 387
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composition: Op. 11, Concerto in E minor, Mvt III
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The missing wedge over the 2nd chord is most probably an oversight of FE, repeated in the majority of the remaining editions. The only exception is GE3, in which both chords are provided with dots like in the previous bar. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Wedges |
. Due to this reason, in the main text we leave the dot featured in the principal source.
