mUltimate Chopin

Op. 23, Ballade in G minor

Text Compare Notes Sources Description

Issues : Inaccuracies in FE

b. 68-69

composition: Op. 23, Ballade in G minor

Slurs from 2nd note in A, literal reading

Slurs from 1st note in FE (→GE,EE)

Different slurs suggested by the editors
..

It is uncertain where the L.H. slurs should start in these bars. In A, it seems that the slurs run from the 2nd crotchet of the bar, but the interpretation of A on the basis of a photograph is always prone to error. On the other hand, the engraver of FE (→GE,EE) would often put slurs in a routine manner, adjusting them to the rhythmic structures (e.g. in b. 32-33, 35 or 37-39). In the main text we adopt a hybrid solution, i.e. we consider only the slur of A in b. 69 to be inaccurate (cf. the unequivocal slur in identical b. 77). The source versions can be regarded as equal variants.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccurate slurs in A

b. 72

composition: Op. 23, Ballade in G minor

No markings in A

under 5th crotchet in FE (→EE)

under 4th crotchet in GE
..

The second  mark in this bar is almost certainly misplaced in FE (→EE). It is indicated by a comparison with analogous figures in the next bars. GE moved the mark correspondingly.

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions

b. 80

composition: Op. 23, Ballade in G minor

No signs in A

before 3rd crotchet in FE (→GE,EE)

 before 4th crotchet suggested by the editors
..

The position of the first  mark is harmonically unjustified here, hence we consider it inaccurate. Inaccuracies in the interpretation of pedal markings inserted by Chopin both in autographs and while proofreading are not uncommon – cf., e.g. b. 72.

category imprint: Editorial revisions

issues: Inaccuracies in FE , Authentic corrections of FE

b. 102-104

composition: Op. 23, Ballade in G minor

2  & 4  in A

3  in FE (→GE,EE)
..

Out of the six  and  marks present in A, the editions reproduced only three, two of them in b. 103 inaccurately – in A, the marks in b. 102 are clearly longer than in the next ones. In our transcription, we convey it by interpreting the marks in b. 103-104 as long accents, since in spite of their significant size, they concern only the g1-g2 minims (in b. 102 they reach as far as the f1-f2 minims). Anyways, all these markings dynamically and expressively emphasise the g1-g2 minims; it is possible to vary the manner in which it will be achieved, which we, however, leave to the discretion of the performer.

category imprint: Differences between sources

issues: Long accents , Errors in FE , Inaccuracies in FE

b. 124

composition: Op. 23, Ballade in G minor

L.H. long accent in A

R.H. long accent in FE

R.H. short accent in GE

in EE
..

Due to the high position of the chord, the clear long accent over the L.H. chord is partially on the top stave in A, as a result of which FE (→GE,EE) linked it to the R.H. part. Consequently, the mark was also moved horizontally, hence in FE it looks like a long accent under the d3 quaver. This is how it was understood in GE, in which, however, it was reduced to the size of a common short accent. EE considered the mark a short diminuendo and slightly shifted it to the left.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Inaccuracies in A