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Issues : Wedges
b. 224
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composition: Op. 2, Variations, complete
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As with bar 216, the interpretation of the staccato markings in A is problematic, since the difference between the particular markings, so clear in bars 208-211 (wedges and dots), concerns only the size of the markings in this case – the dots over the 1st and 3rd semiquavers are clearly bigger than those over the 2nd and 4th ones. We consider it a consequence of carelessness and interpret it after the initial bars in this variation. In the main text we suggest adding respective markings in the L.H. part as well. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Wedges |
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b. 230
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composition: Op. 2, Variations, complete
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As with bar 224, it seems highly unlikely that the replacement of the four dots (emphasising in A the final melodic idea in this phrase) with wedges (reminding that the variation should be performed staccato) was introduced by GE1 under the influence of Chopin. In this edition this bar opens the page, which could have prompted the engraver (reviser?) to reinterpret the Chopinesque markings in such a way (markings that could be considered incomplete, cf. the adjacent note). The absence of wedges in the L.H. part in FESB is most probably the engraver's mistake. category imprint: Differences between sources issues: GE revisions , Wedges , |
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b. 268-269
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composition: Op. 2, Variations, complete
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In A the staccato marks over the bass G category imprint: Differences between sources issues: EE revisions , Errors in FE , Inaccuracies in GE , GE revisions , Wedges |
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b. 271-272
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composition: Op. 2, Variations, complete
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The precise Chopinesque articulation markings – wedges at the beginning of the bar and dots further on – were arbitrarily standardised in GE (→FE,EE). It was the entire finale of the Variations that was subject to this arbitrary unification of staccato markings. According to us, such a decision could have been influenced by both types of staccato intertwining in A, doubly burdensome for the engraver:
The missing staccato mark over the crotchet in bar 271 is most probably the engraver's mistake. category imprint: Differences between sources issues: Errors in GE , GE revisions , Wedges |
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b. 275-283
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composition: Op. 2, Variations, complete
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In the main text we keep the notation of A, in which Chopin precisely and consistently differentiated between the types of staccato markings in the L.H., saving wedges for the bass notes only. This subtlety was not preserved by GE (→FE,EE), in which all markings were reproduced as wedges. See also bar 276 and 279. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |