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b. 170-172

composition: Op. 23, Ballade in G minor

 in A, literal reading

in FE

in GE

in EE

 suggested by the editors
..

The interpretation of the three  marks in A can be approached from different angles:

  • Literal interpretation, in which the range of the marks is related to the respective R.H. crotchets, which results in three increasingly shorter marks. Such a version, suggesting increasingly shorter and milder crescendos, matches the descending direction of this sequence;
  • the difference in the range of the first two marks may be regarded as insubstantial, which suggests that all three hairpins should be unified, since the shape of the melody is the same in each bar. We suggest this version in the main text.

The versions of the editions resulted from the marks in b. 170-171 having been unified; none of these changes resembles Chopinesque proofreading process.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A

b. 170

composition: Op. 49, Fantaisie in F minor

Half-bar pedal in A (→GE)

Pedal change in FE (→EE)

Our variant suggestion
..

In A Chopin deleted the pedal change on the 4th crotchet in the bar, yet in analogous bar 83 it was the other way around – there are two pedal changes in A (→GE) and one in FE (→EE). The fact that Chopin left various versions in these sources (which he proofread) proves that he hesitated, hence in the main text we suggest a variant solution.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A

b. 170-171

composition: Op. 49, Fantaisie in F minor

..

As in the 3 preceding bars, in A Chopin overlooked a number of necessary flats to g and c notes – in bar 170 to g1 and both to c1 (L.H. and R.H.), in bar 171 to g and c2. Only 3 of them were added by FE – both in the R.H. in bar 170 and one in the L.H. in bar 171. GE and EE show the correct text.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals , FE revisions , Inaccuracies in A

b. 170

composition: Op. 49, Fantaisie in F minor

..

In FE1 the bottom note of the 5th R.H. quaver is an f1. The mistake was rectified in FE2 (→EE).

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 170

composition: (Op. 4), Sonata in C minor, Mvt I

f3 repeated in A, original notation

f3 tied in GE (→FE,EE,IE)

f3 repeated, notation suggested by the editors
..

The A notation is overly complicated here (perhaps due to corrections), which hampers the interpretation. In the main text we replace it by a version that clearly shows which notes are to be played and how long they are to be held. This kind of notation, in which one key press corresponds to – if possible – one note, was willingly used by Chopin, cf., e.g. bar 80, L.H. or IV mov., bar 386, R.H. In GE (→FE,EE,IE) the A version with a tie to d3 was arbitrarily supplemented with a tie to f3, as a result of which the note on the 3rd quaver in the bar was not played.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions