Issues : Wedges
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b. 317
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composition: Op. 2, Variations, complete
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As so many times before, the dots having been reproduced as wedges resulted from the simplified interpretation of the notation of A by the engraver of GE1. In this case, it is very difficult to notice the second one, since it is overlapped by the cresc. indication. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Wedges , Inaccuracies in A |
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b. 321-325
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composition: Op. 2, Variations, complete
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The semiquavers ending the mostly six-note motifs encompassed with slurs in bars 321-322 and 324-325 (and in bars 327-328 as well) were provided with staccato dots by Chopin. The wedges with which they were replaced in the editions resulted from the unifying revision of the engraver of GE1. In the remaining editions, the wedges were repeated after GE1, whereby in EE and FESB some marks were overlooked – in EE the first one in bar 325, while in FESB all in bar 321 and 325 (and in bar 327 too) and the third one in bar 322. We do not consider these inaccurate versions to be independent variants. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 323-326
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composition: Op. 2, Variations, complete
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We give the staccato marks in bar 323 (along with the 1st quaver in bar 324) and in bar 326 in the main text after A, although in this case they are not completely consistent:
The versions of the editions, with wedges only, must be arbitrary; what is more, they are incomplete – in GE1 (→GE2→FESB) the marks were reproduced only at the beginning of bar 323 and in bar 326 (in FE and GE3 some of them were also overlooked). In EE the marks on the 2nd and 3rd beats of bar 326 were overlooked, while wedges were added at the beginning of bar 324 and in the L.H. in bar 326. category imprint: Differences between sources issues: EE revisions , GE revisions , Wedges |
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b. 327-329
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composition: Op. 2, Variations, complete
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As before, all staccato marks used by Chopin, in this case dots, were arbitrarily reproduced in GE as wedges. category imprint: Differences between sources issues: Errors in FE , GE revisions , Wedges |
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b. 342
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composition: Op. 2, Variations, complete
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Wedges instead of staccato dots almost certainly resulted from an ad hoc revision of the engraver of GE1, who unified these marks in the entire finale of the Variations. category imprint: Differences between sources issues: GE revisions , Wedges |
thirds (in various octaves) in bars 323-324 are provided with dots, whereas Chopin marked the d-f thirds in bars 326-327 (and the a-c ones in bars 329-330) with wedges.
