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Op. 12, Variations in B♭ major

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Articulation, Accents, Hairpins

b. 146

composition: Op. 12, Variations in B♭ major

No mark in FE (→GE)

Wedge in EE
..

To the main text we adopt the EE variant, considering the absence of the 3rd wedge in FE to be an oversight, after comparing it with bar 145.

category imprint: Differences between sources

issues: EE revisions

b. 151

composition: Op. 12, Variations in B♭ major

Wedge in FE (→EE)

No markings in GE
..

The absence of the mark in GE is certainly an oversight, perhaps partially influenced by the FE layout, where the wedge was placed very close to the octave sign. A similar situation occurred in bar 156.

category imprint: Differences between sources

issues: Errors in GE

b. 156

composition: Op. 12, Variations in B♭ major

Wedge in FE

No markings in GE & EE
..

The absence of the marks in GE and EE must be due to oversight, partially caused by the FE layout, in which the wedge was placed very close to the dashes marking the range of the octave sign. A similar situation occurred in bar 151.

category imprint: Differences between sources

issues: Errors in EE , Errors in GE

b. 161-163

composition: Op. 12, Variations in B♭ major

4 wedges in FE (→EE)

1 staccato dot in GE

5 wedges suggested by editors
..

The missing 3 marks in GE are most probably due to oversight. On the other hand, the change of the FE wedges (→EE) to staccato dots resulted from general revision carried out by the publisher, which we summarise in separate notes (on this page in bar 145). In the main text in bar 162 we alternatively suggest supplementing the FE version (→EE) with a wedge over the 4th quaver.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , GE revisions

b. 179

composition: Op. 12, Variations in B♭ major

Wedge in FE

No mark in GE

Staccato dot in EE
..

It seems that the aim of the EE reviser's intervention could have been the standardisation of marks in both parts of hands – the L.H. chord is provided with a dot, as the preceding ones, which makes this mark more reliable than the single wedge in the R.H. in this fragment. However, in the main text we keep the FE markings, as the use of different marks in the parts of both hands can be easily explained by the textural context – the L.H. chord continues the current course, while the R.H. octave does not.
The absence of the mark in GE is most probably an oversight.

category imprint: Differences between sources

issues: EE revisions , Errors in GE , Wedges