Issues : Inaccuracies in FE
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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. 26-28
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composition: Op. 23, Ballade in G minor
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The longer slur of the editions most probably resulted from a mistake of the engraver of FE. It is noteworthy that in GE4 the range of the slur was not changed in accordance with A, despite the addition of a tie to d2 – see the preceding note. category imprint: Differences between sources issues: Inaccuracies in FE |
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b. 32-33
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composition: Op. 23, Ballade in G minor
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In A, the L.H. slurs, written with a flourish, clearly encompass the groups of five repeated chords. In FE (→GE,EE), they begin earlier, which resulted from the routine approach of the engraver of FE, who considered whole-bar slurs to be most likely. The fact that the actual notation of A was interpreted quite liberally is evidenced by the ending of the slur over b. 32, which, in spite of the fact that in A it reaches b. 33, ends on the last crotchet in b. 32 in FE (and rightly so in this case). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , Embracing slurs |
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b. 33-34
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composition: Op. 23, Ballade in G minor
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Bar 33 ends the first side of A, and the R.H. slur written in it clearly suggests a continuation. However, on the new page, in bar 34, there is no completion of this slur. In none of the first editions does the slur extend to bar 34, however, in FE it extends beyond the last note of bar 33, which appears to be an insignificant inaccuracy, even if the engraver's intention was to convey the ambiguous notation of A. In the main text we provide a version with a slur leading to c category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccurate slurs in A , EE inaccuracies , Uncertain slur continuation |
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b. 35
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composition: Op. 23, Ballade in G minor
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The slur of A, due to the high position of the L.H. chords in the form of a segment of a straight line, symmetrically encompasses 5 L.H. strikes. Consequently, its beginning falls between the 1st and the 2nd crotchet, as a result of which FE (→GE,EE) erroneously encompassed the entire bar with a slur. Cf. a similarly erroneous interpretation of the L.H. slurs in b. 37-39. category imprint: Differences between sources issues: Inaccuracies in FE |
Different accents in 
2 in bar 34, which we consider a contextual interpretation of 
