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b. 8-16
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composition: Op. 23, Ballade in G minor
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In A, the 5 accents at the beginning of the R.H. quaver figures are of different length – the shortest are in b. 10 and 12, while the longest – in b. 14 and 16. However, all of them are provided with a slender shape, typical of long accents. As there is no reason to differentiate between the accents (and the last two are undoubtedly long), we interpret all of them as long; this is also the shape in which we give them in the main text. In FE, it is only the last accent that is clearly longer (in b. 16); in the remaining editions the marks were standardised as common short accents. The issue of distinguishing between those two types of accents, not always possible to unequivocally decide, is present throughout the entire Ballade and is also to be found in many other works by Chopin. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 8-19
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composition: Op. 23, Ballade in G minor
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In A, it can be seen that Chopin initially wrote over the characteristic quaver figure slurs that would not go beyond the bar line; it was only later that he prolonged them, leading them to the minims at the beginning of the following bar. Such corrections are clear in b. 8-9, 10-11, 12-13 and 18-19. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 9-21
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composition: Op. 23, Ballade in G minor
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In A (→FE→GE,EE1→EE2), the L.H. crotchets are provided with inconsistent articulation markings – in addition to the ubiquitous staccato dots, the pairs of crotchets in the 2nd half of b. 10, 12, 14, 16, 18 and 20 are also provided with a slur. When interpreted literally, the articulation deviates from the one indicated for the respective R.H. crotchets, which are consistently marked with both dots and slurs. However, there are no doubts that in this texture, based on the juxtaposition of the melodic top R.H. voice with the rhythmic and harmonic accompaniment performed by both hands, all elements of the crotchet chords are to be played with the same articulation. In the original layout, the slurs encompassing the pairs of the R.H. crotchets are placed above them, which naturally suggests that they also refer to the L.H. crotchets. Chopin would often reach for such a simplified notation – cf., e.g. the middle section of the Mazurka in A category imprint: Interpretations within context; Editorial revisions issues: EE revisions |
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b. 14
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composition: Op. 23, Ballade in G minor
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We add a cautionary category imprint: Editorial revisions |
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b. 14-15
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composition: Op. 23, Ballade in G minor
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In A, the R.H. slur in the 2nd half of b. 14, when interpreted literally, ends at the beginning of b. 15, and this is how it was reproduced in FE (→GE,EE). According to us, however, it is merely an inaccuracy of Chopin's notation, since the composer would write the majority of the slurs in this Ballade with a flourish. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
major, Op. 50 No. 2, in which the performance of the L.H. part, devoid of markings, must include the indications written in the R.H. Should we assume such an interpretation, it becomes clear why there are slurs in the L.H. part in the aforementioned bars – in those places the crotchet accompaniment is in the L.H. only.
before e
