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b. 37
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composition: Op. 23, Ballade in G minor category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Authentic corrections of FE , Errors repeated in EE |
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b. 37-39
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composition: Op. 23, Ballade in G minor
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In A (→FE) the R.H. slurring is clearly incomplete in these bars – there is no reason for the 2nd figure in b. 37 and the first figures in b. 38-39, over which there are no slurs, to be performed differently from the rest. Therefore, in the main text we supplement the slurs after the first three figures in this four-bar section (in b. 36-37). The slurs were also added by GE and EE. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions , Inaccuracies in A |
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b. 37-39
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composition: Op. 23, Ballade in G minor
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In A, the L.H. slurs, although written with a flourish, clearly encompass only the 2nd and 3rd crotchet in each half of the bar. In spite of that, in FE (→GE,EE) the slurs also encompass the 1st crotchet, which expresses the inclination of the engravers to adjust the range of slurs (and dynamic hairpins too) to the rhythmic structures, in this case halves of bars. See also the note to b. 36. category imprint: Differences between sources issues: Inaccuracies in FE , Embracing slurs |
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b. 38-39
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composition: Op. 23, Ballade in G minor
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Unlike in b. 36-37, the slur in the 2nd half of b. 38 is led in A (→FE→EE) only to the last quaver in the bar. We consider it an inaccuracy; in the main text, we lead it to the tied crotchet at the beginning of the next bar (in accordance with the slurs of the remaining similar figures). The difference between those versions of notation is of purely graphical nature, since both bear the same meaning. It is also in GE that the slur is longer here; however, it was added over the original, shorter slur and not instead of it. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Inaccuracies in A |
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b. 40
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composition: Op. 23, Ballade in G minor
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In A one can see that initially the 2nd and 5th L.H. crotchets consisted of 3 notes, as in b. 36. The size of the deletions suggests that the removed notes – b category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
and a, respectively – were minims, which means that the bottom notes of the top voice on the 3rd and 6th crotchets were almost certainly added later. It is also the top notes of the octaves on the 1st and 4th crotchets that were most probably added later, hence in the L.H. part the bar was identical to b. 36. There is a similar situation in the next two