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b. 188

composition: Op. 23, Ballade in G minor

No slur in sources

Slur to g1, our alternative suggestion
..

Justification of our alternative suggestion – see b. 186-187.

category imprint: Editorial revisions

b. 188-189

composition: Op. 23, Ballade in G minor

No sign in A

in FE (→EE) & GE1a

in GE
..

The  hairpin in FE (→EE) must have resulted from Chopinesque proofreading. GE reproduced the mark inaccurately, which is difficult to explain. It is equally difficult to explain why GE1a is compatible with FE and not with GE1. The latter seems to indicate that the engraver of GE1a had FE at his disposal; however, the coincidence may be purely accidental – the engraver of GE1a could have expanded the mark arbitrarily to adjust it to the quaver beam, which was a frequent manner of the then engravers.

category imprint: Differences between sources

issues: Inaccuracies in GE , Authentic corrections of FE

b. 188

composition: Op. 2, Variations, complete

No ornament in AsI

 in A (→GE→FE,EE,FESB)

 with  suggested by the editors
..

The missing trill in AsI is most probably related to the different shape of melody and rhythm in the ending of the bar – see the next note.

As in the case of b. 184, none of the sources includes a mark that would specify the sound of the trill's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with a . 

category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations

issues: Main-line changes , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 188

composition: Op. 2, Variations, complete

Text in AsI, basic version

Alternative version in AsI, contextual interpretation

A (→GE→FE,EE,FESB)
..

In AsI the last quaver in the bar underwent an evolution that eventually resulted in the version of A (→GE→FE,EE,FESB). The starting point was the version (written down clearly, in normal-sized script) that we consider the text of this source. It is very similar to the respective fragment of b. 184. Chopin then crossed out the f1-b1 fourth and added a double grace note (in a draft manner) to the 4th quaver and 4 dyads as in the final version, however, without marking the differentiated rhythmic values, which are thus to be interpreted as demisemiquavers. We give this interpretation as an alternative variant of the text of AsI. The attempt at the reproduction of the entire record of this place is included in the graphic transcription ("transcript") of AsI.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 189

composition: Op. 43, Tarantella

..

We add cautionary  before d1 in RH.

category imprint: Editorial revisions