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b. 23
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composition: Op. 23, Ballade in G minor
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In FE (→GE), the staccato dots of the E category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 23
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composition: Op. 23, Ballade in G minor
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As in b. 14 and 16, in the last two R.H. crotchets, one can see in A traces of removal of the initially written bottom notes, g. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 24-25
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composition: Op. 23, Ballade in G minor
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In these bars, it is difficult to determine which accents Chopin had in mind. The length of the marks differs – the second is a typical long accent, the third – short, while the first can be interpreted twofold: it is true that it is quite short; however, it is slender like a long accent. Nevertheless, it is unlikely that Chopin would have wanted to differentiate between the marks: like entire A, they were written in haste, which excludes the application of hardly noticeable graphical details. In the main text, we are leaning towards long accents due to the layout – bar 25 opens a new line; therefore, it is likely that the accent was added later, with less commitment, and it is the marks in b. 24 that represent the correct reflex. According to us, the short accents in the editions may be regarded as a less likely interpretation of the notation of A. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in FE , Inaccuracies in A |
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b. 25
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composition: Op. 23, Ballade in G minor
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The category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 26-27
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composition: Op. 23, Ballade in G minor
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The tie sustaining in A the d2 minim to the next bar was misinterpreted in FE and in the majority of the editions based thereon as a beginning of the slur over b. 27-28. The mistake could have resulted from the tie having been written down unclearly, i.e. its middle part is most probably very poorly legible (on the available photograph, the fragment beginning the second, descending part of the tie is completely illegible). The tie was added by GE4, perhaps on the basis of a rhythmic analogy with the beginning of b. 29. category imprint: Differences between sources issues: Errors in FE , GE revisions |
and D bass crotchets were overlooked. They were added by 
Different accents in 
in 
