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b. 6-7

composition: Op. 23, Ballade in G minor

 in A

in FE (→GE,EE)
..

In A, the  hairpin is placed closer to the top stave; however, it is under the L.H. slur. Therefore, one can ponder to which part the mark refers, i.e. R.H. or L.H. According to us, the range of the mark, perfectly corresponding to the g1-b1 step, indicates that the mark applies to the R.H. part. Such ascending motifs, usually within the interval of a second, are often to be found in Chopin's works, while the accompanying  marks were often misinterpreted by the engravers of the first editions (just like here), cf., e.g. the Concerto in F minor, Op. 21, II mov., b. 84 or the Prelude in A minor, Op. 28 No. 2, b. 15-16. In FE (→GE,EE) the hairpin was put in a neutral place, i.e. between the right and the left hand, but it was extended to the entire three-note motif.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in A

b. 6

composition: Op. 23, Ballade in G minor

Long accent in A (→FE)

in GE

Short accent in EE
..

The long accent entered into A was quite accurately reproduced in FE; however, GE and EE considered it vague and reduced to a more typical form, i.e. a diminuendo hairpin in GE and a common short accent in EE.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE , EE inaccuracies

b. 6-8

composition: Op. 63 No. 2, Mazurka in F minor

Slur in FE (→EEW)

No slur in GE
..

The missing slur in GE is most probably the engraver's oversight.

category imprint: Differences between sources

issues: Errors in GE

b. 6-7

composition: Op. 63 No. 2, Mazurka in F minor

As version

FE (→GE,EE) version
..

Chopin decided to publish bar 7 – together with the last quaver in bar 6 – in a changed version with respect to the notation of As. However, according to us, it is uncertain which version was earlier, since the notation of As suggests that corrections were being made to the first version:

  • it seems that the natural at the end of bar 6 was added later,
  • the 1st quaver in bar 7 could have been changed from g1 to a1,
  • it seems that the 2nd quaver was added in between the adjacent ones,
  • the flag and it having been slashed in the a1 grace note seem to have been added to the stem of a normal quaver (penultimate in the initial version).

If all the above assumptions proved to be true, it would turn out that it was the final version that was entered first (except the enharmonically equivalent notation of the 2nd quaver in bar 7,  g1 instead of a1). Therefore, it would be a very clear example of Chopin's hesitation.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations , Main-line changes

b. 6

composition: Op. 63 No. 2, Mazurka in F minor

2 times e-a-c1 in As

e-c1 in FE (→GE,EE)
..

In As the 2nd L.H. crotchet is an e-a-c1 three-note chord. The same chord is then repeated as the 3rd crotchet. Chopin would often change the number or position of notes in such accompanying figures or the number of times a given chord is played in a bar while refining his pieces – cf., e.g. bar 13, 19, 20, 22-24.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes