Issues : Long accents
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b. 6
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composition: Op. 23, Ballade in G minor
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The long accent entered into A was quite accurately reproduced in FE; however, GE and EE considered it vague and reduced to a more typical form, i.e. a diminuendo hairpin in GE and a common short accent in EE. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , EE inaccuracies |
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b. 8-16
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composition: Op. 23, Ballade in G minor
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In A, the 5 accents at the beginning of the R.H. quaver figures are of different length – the shortest are in b. 10 and 12, while the longest – in b. 14 and 16. However, all of them are provided with a slender shape, typical of long accents. As there is no reason to differentiate between the accents (and the last two are undoubtedly long), we interpret all of them as long; this is also the shape in which we give them in the main text. In FE, it is only the last accent that is clearly longer (in b. 16); in the remaining editions the marks were standardised as common short accents. The issue of distinguishing between those two types of accents, not always possible to unequivocally decide, is present throughout the entire Ballade and is also to be found in many other works by Chopin. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 24-25
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composition: Op. 23, Ballade in G minor
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In these bars, it is difficult to determine which accents Chopin had in mind. The length of the marks differs – the second is a typical long accent, the third – short, while the first can be interpreted twofold: it is true that it is quite short; however, it is slender like a long accent. Nevertheless, it is unlikely that Chopin would have wanted to differentiate between the marks: like entire A, they were written in haste, which excludes the application of hardly noticeable graphical details. In the main text, we are leaning towards long accents due to the layout – bar 25 opens a new line; therefore, it is likely that the accent was added later, with less commitment, and it is the marks in b. 24 that represent the correct reflex. According to us, the short accents in the editions may be regarded as a less likely interpretation of the notation of A. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Long accents , Inaccuracies in FE , Inaccuracies in A |
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b. 43
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composition: Op. 23, Ballade in G minor
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In this place, the accent of A is clearly longer than the remaining ones, which was even reproduced by FE. In spite of that, in the main text we suggest a short accent, since we assume that an accidental inaccuracy is more likely. The vertical accent of EE is an arbitrary change, compliant with the manner of that edition – cf. b. 41-43. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE revisions , Inaccuracies in GE , Inaccuracies in A |
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b. 44
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composition: Op. 23, Ballade in G minor
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The two accents in FE must have resulted from Chopin's proofreading; apparently, he decided to homogenise the markings in b. 44 and 46. Taking into account the fact that the accents of A in b. 46 are clearly long, which, however, were reproduced by FE as short, we assume that it is also in b. 44 that Chopin most probably wanted to have long accents; this is the solution we adopt in the main text. category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Long accents , Inaccuracies in FE , Authentic corrections of FE |
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