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Op. 38, Ballade in F major

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b. 33

composition: Op. 38, Ballade in F major

Crotchet g1 in A (→GC)

Dotted crotchet in FE & EE

Single-part notation in GE
..

In A (→GC), probably as a result of an oversight, the g1 crotchet was written without the extending dot. The dot was undoubtedly rightly – cf. bar 17 – added in FE and EE, while the one-part notation used in GE erroneously included the final e1 to the melody of the top voice. 

category imprint: Differences between sources

issues: EE revisions , GE revisions , FE revisions , Inaccuracies in A

b. 42

composition: Op. 38, Ballade in F major

Crotchet & quaver in A (→FE,EE)

No quaver in GC

Dotted crotched in GE
..

GC overlooked the c quaver in the L.H. GE amended this version by adding an extending dot next to the c crotchet. Cf. bar 28.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of GC

b. 46

composition: Op. 38, Ballade in F major

Minims in A (→EE,GC→GE)

Crotchets in FE
..

FE has dotted crotchets instead of minims. It is hard to imagine that one could have committed such a striking mistake, therefore, it seems to be more plausible that the engraver changed Chopin's notation on purpose, most probably considering the chords in the L.H. and the R.H. as two beats filling this bar.

category imprint: Differences between sources

issues: FE revisions

b. 90

composition: Op. 38, Ballade in F major

A (→EE,GC→GE) & FE2 (→FE3)

FE1
..

It is not clear what could have caused FE1 to replace the quaver d-a by the dots prolonging the preceding crotchet. In any case, the A version reinstated in the proofreading of FE2 (→FE3) proves that it was a mistake.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 92

composition: Op. 38, Ballade in F major

..

In A (→GC,EE) the middle note a1 on the 2nd beat of the R.H. is assigned to the middle voice. Recognising such division into voices, the revisers of FE and GE shortened the value of this note by deleting the extending dot. No repetition of a1 on the last quaver (cf. bar 94) indicates rather the necessity to sustain this note to the end of the bar, in accordance with the notation of A. Therefore, in the main text we correct the illogical in this situation division into voices, following similar bars 38 and 40. At the time of writing this chord, Chopin could have thought about bar 94, which could have caused the mistake.

category imprint: Differences between sources

issues: GE revisions , FE revisions , Inaccuracies in A