Issues : 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. 310
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composition: Op. 2, Variations, complete
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The wedges in the editions resulted from the engraver of GE1 having misinterpreted the authentic dots. In GE3 wedges were arbitrarily added over the chords too (cf. bar 305). category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 315
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composition: Op. 2, Variations, complete
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In the main text we keep the two staccato dots visible in A over the f notes opening the semiquaver triplets. The fact that the first one was omitted in GE (→FE) most probably resulted from lack of space under the R.H. b category imprint: Differences between sources issues: EE revisions , Errors in GE , GE revisions , Wedges |
semiquaver written on the bottom stave (in