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Op. 38, Ballade in F major

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Articulation, Accents, Hairpins

b. 18

composition: Op. 38, Ballade in F major

 in A (→GC,FE,EE)

in GE
..

The shifted beginning of a  sign resulted most likely from a routine revision of GE, aligning the signs with rhythmical structures like beams or bars.

category imprint: Differences between sources

issues: GE revisions

b. 21

composition: Op. 38, Ballade in F major

 in A (→GC,FE)

in GE

No  in EE
..

EE overlooks , while in GE the mark was moved in such a way that it fills one bar.

category imprint: Differences between sources

issues: GE revisions , EE inaccuracies

b. 26

composition: Op. 38, Ballade in F major

 in A (→FE)

GC (→GE)

EE
..

Both the earlier start of the  mark in GC (→GE) and the fact of its shortening in EE is a result of an inaccurate interpretation of A.

category imprint: Differences between sources

issues: EE inaccuracies , Inaccuracies in GC

b. 33-34

composition: Op. 38, Ballade in F major

  in A

GC

FE

EE

GE
..

The sources differ in the range of the   hairpins, which in the majority of the cases does not however significantly influence their musical sense. In the main text we give the marks based on A, as nothing indicates that Chopin changed anything in the remaining sources. From the graphical point of view, it is the text of GE that is most distant from the version of A, in which there is an accumulation of effects of inaccuracies of the copyist and engraver. However, according to us, the major risk of distorting Chopin's idea stems from the notation of EE in which the dynamic climax seems to fall on the 3rd quaver of the bar.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in GC

b. 38-39

composition: Op. 38, Ballade in F major

 in A (→FE,GC→GE)

 in EE
..

It is unclear whether the fact of shortening the  mark in EE is a result of having misunderstood A or of the revision – cf. an analogous situation in bar 40.

category imprint: Differences between sources

issues: EE revisions