Issues : Wedges
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b. 10
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composition: Op. 2, Variations, complete
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We attribute the change of dots to wedges to the engraver's carelessness (manner?), since there are many more such changes of staccato marks, musically unjustified, e.g. in b. 14 or 35. See also b. 271-272. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 14
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composition: Op. 2, Variations, complete
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As was the case with b. 10, the change of dots to wedges in GE (→FE,EE) does not seem to have been inspired by Chopin; however, he could have accepted it – cf. the note on slurs at the beginning of this bar. category imprint: Differences between sources issues: Inaccuracies in GE , Wedges |
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b. 35-36
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composition: Op. 2, Variations, complete
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In A the staccato markings over the semiquavers are evidently represented by dots and clearly differ from, e.g. the wedges at the beginning of b. 35 or b. 39. According to us, the wedges in GE (→FE,EE) were an arbitrary decision of the engraver, who blithely approached the Chopinesque staccato markings on a number of occasions – cf., e.g. b. 10. By contrast, adding marks on the 4th beat of the bar, although without effect on performance – in both cases the marks serve as an example and should be propagated to all semiquavers in these bars – seems to be justified and may have come from Chopin (see also the note on b. 39-40). However, we believe that these two issues can be considered independently, hence in the main text we give dots (after A) in the entire 2nd half of the bar (after GE1). category imprint: Differences between sources issues: GE revisions , Authentic corrections of GE , Wedges |
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b. 45-46
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composition: Op. 2, Variations, complete
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In the main text we keep the staccato dots clearly written down in both bars in A. The wedges of GE (→FE,EE) probably resulted from the engraver's carelessness or from his conviction that the marks could be regarded as equivalent. category imprint: Differences between sources issues: GE revisions , Wedges |
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b. 114-115
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composition: Op. 2, Variations, complete
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The slurs in AsI – the only performance markings in this variation together with the wedge over c2 in b. 114 – could have a rhythmic (triplet slurs) or a motivic meaning. Anyways, Chopin abandoned them in the published version; instead, he wrote here staccato dots, which in GE1 and in the remaining editions were routinely replaced with wedges. category imprint: Differences between sources; Corrections & alterations issues: GE revisions , Wedges |
