Issues : Wedges
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 |
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b. 345-346
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composition: Op. 2, Variations, complete
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In both bars wedges instead of dots must have resulted from an ad hoc revision by the engraver of GE1, who unified these marks in the entire finale of the Variations. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 347-348
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composition: Op. 2, Variations, complete
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Wedges instead of dots over the octaves and the sequence of L.H. quavers played over the R.H. must have resulted from a revision by the engraver of GE1, who unified these marks in the entire finale of the Variations. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 362
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composition: Op. 2, Variations, complete
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The dots having been replaced with wedges was an arbitrary decision of the engraver of GE1 – see bars 271-272. The absence of a dot in A over the penultimate quaver probably resulted from ink stoppage. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 363
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composition: Op. 2, Variations, complete
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Replacing the staccato dots with wedges is a revision, while the omission of the mark over d-d1 – a mistake by the engraver of GE1 (in A the dot merges with the mark). category imprint: Differences between sources issues: Errors in GE , GE revisions , Wedges |