Articulation, Accents, Hairpins
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b. 292-293
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composition: Op. 2, Variations, complete
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As previously, in GE (→FE,EE) the staccato markings were standardised by replacing the dots with wedges. It must be an arbitrary decision of the publisher. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 294
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composition: Op. 2, Variations, complete
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As in the previous bars, in GE (→FE,EE) the Chopinesque staccato dots were replaced with wedges, thus unifying the markings, carefully differentiated by the composer. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 296
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composition: Op. 2, Variations, complete
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The wedges in the editions must be an arbitrary decision of the engraver of GE (→FE,EE). The missing two marks on the 3rd beat of the bar are a mistake of GE3. category imprint: Differences between sources issues: Inaccuracies in GE , Errors in GE , Wedges |
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b. 297
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composition: Op. 2, Variations, complete
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In the main text, we provide staccato dots inscribed in A. The wedges pencilled into #ApI are the first attempt at articulation marks here. On the other hand, the version of the editions must be the aftermath of the unjustified conviction of the engraver of GE1 that all staccato marks in the finale of the Variations are wedges. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 297
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composition: Op. 2, Variations, complete
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The lack of accents in AsI results from the working nature of this score. In FESB, they were probably overlooked. category imprint: Differences between sources issues: EE revisions |
