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Op. 23, Ballade in G minor

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Verbal indications

b. 119

composition: Op. 23, Ballade in G minor

in A

No marking in FE (→GE,EE)

() suggested by the editors
..

According to us, it is highly likely that  was accidentally overlooked by the engraver of FE (→GE,EE). If we were to look at the elements closest to the E1-E octave, the mark could have been easily taken for, e.g. a pedal release mark. On the other hand, Chopin proofread the Ballade quite exactly, hence in the majority of the situations it can be considered that the text of FE was accepted. Therefore, in the main text we suggest a variant solution.

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category imprint: Differences between sources

issues: Errors in FE

b. 125

composition: Op. 23, Ballade in G minor

sempre in A

No indication in FE (→GE,EE)
..

It is unclear whether sempre (più animato) was overlooked or removed by FE (→GE,EE). In the main text, however, we give this version, since it seems that it continues the direction of the agogic changes of the section that begins here; the changes were initiated already in A – see the note in b. 136.

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category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 128-129

composition: Op. 23, Ballade in G minor

No indication in A

cresc. - - - - in FE (→EE)

cresc. - - in GE

cresc. in GE1a
..

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. 

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category imprint: Differences between sources

issues: Inaccuracies in GE , Authentic corrections of FE

b. 136

composition: Op. 23, Ballade in G minor

più vivo in A

No indication in FE (→GE,EE)
..

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.

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category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Errors in FE , Corrections in A , Deletions in A , Authentic corrections of FE

b. 138

composition: Op. 23, Ballade in G minor

scherzando in A

No indication in FE (→GE,EE)
..

Unlike in the case of the agogic markings in b. 125 and 136, it is difficult to find a justification for a possible abandonment of the scherzando indication. Therefore, we include it in the main text; we signalise its absence in the principal source by using brackets.

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category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Authentic corrections of FE