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Op. 23, Ballade in G minor

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Articulation, Accents, Hairpins
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Articulation, Accents, Hairpins

b. 156-157

composition: Op. 23, Ballade in G minor

Accents in A

No marks in FE (→GE,EE)

Our variant suggestion
..

It seems that the accents – as many other markings – were overlooked by the engraver of FE. However, to respect the image of the text of FE, carefully proofread by Chopin, in the main text we suggest them in a variant form, in brackets.

category imprint: Differences between sources

issues: Errors in FE

b. 156-157

composition: Op. 23, Ballade in G minor

  in A, literal reading

  in FE (→GE,EE)

  suggested by the editors
..

The change of the range of the   hairpins must have resulted from a routine revision carried out by the engraver of FE (→GE,EE), who adjusted the marks to the rhythmic structures, i.e. an entire bar in b. 156 and half of a bar in b. 157. In A, the  mark in b. 157 is noteworthy, since it clearly begins before the first notes (this bar opens a new line) and reaches only the 5th quaver in the bar, which stands in stark contrast to the  mark in the previous bar, which occupies almost an entire bar. According to us, such a position of the mark may be explained by lack of space between the staves in the 2nd half of the bar and by the intention to compensate it having been excessively shortened by starting the mark earlier on the left-hand side, so that its length could be comparable to the  mark. Taking into account the above, in the main text we suggest a contextual interpretation of the marks of A resulting from the above analysis.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , Scope of dynamic hairpins

b. 158-160

composition: Op. 23, Ballade in G minor

Shorter  in A

Longer  in FE

Extended  in GE & EE

Shortened  in GE1a
..

According to us, the extension of the  hairpin in FE goes beyond – particularly in b. 158, at the beginning of the mark – a routine adjustment to the rhythmic structures. Therefore, we assume that it is a result of proofreading (carried out by Chopin), and this is the version we give in the main text. In A one can see that both the beginning and the ending of the hairpin are placed in a manner that they do not blend in with the other elements of notation. In GE and EE the mark was extended at the end of b. 160, which was an arbitrary decision, devoid of practical meaning. The mark having been shortened by GE1a is a mistake resulting from the transition to a new page (from b. 160).

category imprint: Differences between sources; Corrections & alterations

issues: Scope of dynamic hairpins , Authentic corrections of FE

b. 165

composition: Op. 23, Ballade in G minor

in A

No marking in FE1 (→GE)

Accent in FE2 (→EE)
..

The missing  mark in FE1 is most probably an oversight by the engraver. We assume that the accent added – most probably by Chopin – in the stage of proofreading FE2 expresses the composer's final intention; therefore, we give it in the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 166-167

composition: Op. 23, Ballade in G minor

Long accents in A

Short accents in FE (→GE,EE)
..

We consider both accents of A, although differing in shape, to be long accents due to their size (cf., e.g. the clearly smaller mark in b. 173). FE reproduced the accents as short (GE and EE did it in an even more pronounced manner).

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE