Issues : Authentic corrections of FE
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b. 195-205
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composition: Op. 23, Ballade in G minor
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In the main text we add slurs to the staccato dots with which the pairs of L.H. crotchets are marked in these bars (Chopin wrote such slurs only in the 2nd halves of b. 196, 198 and 200). We provide an extensive justification of this decision in the note concerning b. 9-21. As was the case there, slurs were added here also by EE3 (except for the 2nd half of b. 199). category imprint: Differences between sources; Editorial revisions issues: EE revisions , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions |
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b. 197
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composition: Op. 23, Ballade in G minor
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The accent added by FE (→GE) looks more like a common short accent. However, it is more likely that Chopin wrote a longer mark while the engraver of FE reproduced it in a standard manner. An example of this could be the accents in b. 201-205, undoubtedly long in A; in FE, they are virtually identical to the discussed one (the form of typical Chopinesque short accents can be seen on the same page of A, in b. 208-213). Due to the above, in the main text we suggest a long accent. The easiest explanation for the presence of a long accent in EE is the engraver's inaccuracy. The placement of the accent is a more serious issue – according to us, it is likely that Chopin wrote it over e1, which was misinterpreted by the editions. Justification for this assumption – see the previous note. Accents (or other marks) ascribed to other notes by mistake can also be found in other pieces by Chopin (cf., e.g. the misplaced slur in b. 172-173 in the Concerto in F minor, Op. 21, III mov.). category imprint: Differences between sources; Corrections & alterations issues: Long accents , Errors in FE , Authentic corrections of FE |
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b. 198
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composition: Op. 23, Ballade in G minor
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In the available photograph of A, it seems that the mark entered under a part of the quaver figure is an inaccurate slur of the original range (only to the last quaver). The longer slur entered over the figure must be the final version (see b. 194-195), hence we give it in the main text as the only one, in compliance with FE (→GE,EE). category imprint: Graphic ambiguousness; Differences between sources issues: Errors in FE , Inaccurate slurs in A , Authentic corrections of FE , Inaccuracies in A |
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b. 217-218
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composition: Op. 23, Ballade in G minor
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The missing pedal markings at the end of b. 217 and in b. 218 in A must be Chopin's inadvertence, since it is the end of a line in A, which is conducive to oversights – after a moment of distraction, the composer resumed writing indications from a new line. category imprint: Differences between sources issues: Authentic corrections of FE , No pedal release mark , Inaccuracies in A |
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b. 220-221
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composition: Op. 23, Ballade in G minor
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In A, there are no rests in the top voice. Chopin would often omit such rests in obvious situations; however, he was not always consistent – cf. b. 216 (without rests) and 218 (with a rest). Anyways, the two-part notation is marked by the direction of the stems. This notation was reproduced by FE, yet rests were added in b. 221, perhaps at Chopin's request. Therefore, in this situation b. 220 having been left without a rest must be considered an inadvertence, hence, to avoid doubts, we add a rest also in this bar in the main text. In GE and EE the absence of a rest prompted the engravers to make the stem of the c minim point upwards, which turned an inaccurate notation into a wrong notation. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions |
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