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b. 128-129
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composition: Op. 23, Ballade in G minor
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Both the range of the dashes marking the range of cresc. having been shortened and them having been overlooked resulted from inaccuracies by the engravers of GE1 and GE1a, respectively. category imprint: Differences between sources |
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b. 129-130
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composition: Op. 23, Ballade in G minor
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In A, the slur at the end of b. 129, the last on the page, clearly suggests that it should be continued, yet there is no ending thereof in b. 130. We assume – as FE (→GE,EE) did – that it reaches b category imprint: Graphic ambiguousness; Source & stylistic information |
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b. 132-133
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composition: Op. 23, Ballade in G minor
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In these bars, Chopin overlooked in A all necessary flats lowering a1 and a2 to a category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , FE revisions , Inaccuracies in A |
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b. 134-135
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composition: Op. 23, Ballade in G minor
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The version introduced at the stage of proofreading FE (→GE,EE), certainly by Chopin, is definitely an improvement – the connection with the previous bar is smoother, while the shape of the applied motif refers to b. 126-129. The notation of A does not include any of the two necessary flats to a category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Omission of current key accidentals , Authentic corrections of FE , Main-line changes , Inaccuracies in A |
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b. 136
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composition: Op. 23, Ballade in G minor
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The più vivo indication was entered into A instead of the earlier sempre più vivo (which was deleted). According to us, the omission of sempre could have been correlated with it having been added before più animato in b. 126 (that sempre having been added later is evidenced by an unnaturally greater gap between sempre and più than between più and animato). In this situation, forgoing the indications in two places for a single più animato in b. 126, which we can see in FE (→GE,EE), can be considered the last stage of shaping the agogic changes in this fragment – Chopin could have assumed that such a solution would define here the relationships between the tempi in a simplest and most accurate manner, since it is from this bar that a new section begins, featuring a clearly different texture. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Errors in FE , Corrections in A , Deletions in A , Authentic corrections of FE |
, the 1st crotchet in b. 130. 
