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b. 148

composition: Op. 23, Ballade in G minor

..

In A, there is no  restoring c2 in the middle of the bar. It was added by FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE , FE revisions

b. 148

composition: Op. 23, Ballade in G minor

Half-bar  in A

Whole-bar  in FE (→GE,EE)

 suggested by the editors
..

We interpret the notation of A as incomplete or perhaps erroneous. Chopin wrote a  only in the 1st half of the bar, on which the end of the line falls in A; perhaps he was convinced that the bar had already ended or simply forgot to write the ending of the mark in a new line. Anyways, the shape of the figurations in this bar suggests that the crescendo should be continued in the 2nd half of the bar and to the very end, since the topmost note falls only just on the beginning of the next bar (unlike in the previous two). Due to the above, in the main text we model the beginning of the mark after previous analogous bars; as far as the ending is concerned, we lead it to the end of the bar.

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

issues: Scope of dynamic hairpins , FE revisions , Inaccuracies in A

b. 148-149

composition: Op. 2, Variations, complete

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In AsI these bars are marked as a repetition of b. 140-141, which we reproduce only in the graphic transcription (version "transcript") – see b. 144-147.

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

b. 148-155

composition: Op. 2, Variations, complete

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AsI does not contain any performance markings, on which we do not comment further on.

category imprint: Differences between sources

b. 148-150

composition: Op. 49, Fantaisie in F minor

3 short accents in A

Long accent in GE

Long accent in FE

No marks in EE1

Short & long accents in EE2
..

The notation of accents in bar 148 and 150 is inaccurate in all sources, hence in the main text we suggest 4 accents (short alternating with long) after bars 224-230 and 311-315, more carefully developed in A. In A we can see here 3 more or less identical marks, which we interpret as short. The only accent in FE, in the middle of bar 148, is, however, long, which suggests that this is how it was reproduced – on the basis of A – by Fontana in the copy that served as the basis for FE. The absence of marks at the beginning of these bars in FE (→EE) indicates that they were added to A later, after [FC] had been finished.
In GE the missing 2nd accent in bar 148 can be explained by corrections in A – Chopin left the accent over the deleted version but did not repeat it in the final version, written on the stave below. The absence of the mark in bar 150 is just an oversight.
In EE1 the only accent present in FE was overlooked, which was corrected in EE2, in which an accent at the beginning of this bar was also added (after GE1).

category imprint: Differences between sources; Editorial revisions

issues: Long accents , EE revisions , Errors in EE , Errors in GE