Issues : Scope of dynamic hairpins
b. 146-147
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composition: Op. 23, Ballade in G minor
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In the main text, we keep the approximate range of the hairpin entered into A. The engravers of Chopinesque first editions would often extend hairpins so that they occupy an entire bar; such a procedure was applied in this case by FE (→GE,EE). The difference, as small as it may be, may suggest an erroneous interpretation, particularly at the end of the bar – it is difficult to assume that Chopin would have wanted the crescendos to go beyond the penultimate, highest quaver. See also b. 148. category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins |
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b. 148
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composition: Op. 23, Ballade in G minor
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We interpret the notation of A as incomplete or perhaps erroneous. Chopin wrote a only in the 1st half of the bar, on which the end of the line falls in A; perhaps he was convinced that the bar had already ended or simply forgot to write the ending of the mark in a new line. Anyways, the shape of the figurations in this bar suggests that the crescendo should be continued in the 2nd half of the bar and to the very end, since the topmost note falls only just on the beginning of the next bar (unlike in the previous two). Due to the above, in the main text we model the beginning of the mark after previous analogous bars; as far as the ending is concerned, we lead it to the end of the bar. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Scope of dynamic hairpins , FE revisions , Inaccuracies in A |
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b. 156-157
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composition: Op. 23, Ballade in G minor
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The change of the range of the hairpins must have resulted from a routine revision carried out by the engraver of FE (→GE,EE), who adjusted the marks to the rhythmic structures, i.e. an entire bar in b. 156 and half of a bar in b. 157. In A, the mark in b. 157 is noteworthy, since it clearly begins before the first notes (this bar opens a new line) and reaches only the 5th quaver in the bar, which stands in stark contrast to the mark in the previous bar, which occupies almost an entire bar. According to us, such a position of the mark may be explained by lack of space between the staves in the 2nd half of the bar and by the intention to compensate it having been excessively shortened by starting the mark earlier on the left-hand side, so that its length could be comparable to the mark. Taking into account the above, in the main text we suggest a contextual interpretation of the marks of A resulting from the above analysis. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , Scope of dynamic hairpins |
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b. 158-160
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composition: Op. 23, Ballade in G minor
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According to us, the extension of the hairpin in FE goes beyond – particularly in b. 158, at the beginning of the mark – a routine adjustment to the rhythmic structures. Therefore, we assume that it is a result of proofreading (carried out by Chopin), and this is the version we give in the main text. In A one can see that both the beginning and the ending of the hairpin are placed in a manner that they do not blend in with the other elements of notation. In GE and EE the mark was extended at the end of b. 160, which was an arbitrary decision, devoid of practical meaning. The mark having been shortened by GE1a is a mistake resulting from the transition to a new page (from b. 160). category imprint: Differences between sources; Corrections & alterations issues: Scope of dynamic hairpins , Authentic corrections of FE |
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b. 170-172
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composition: Op. 23, Ballade in G minor
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The interpretation of the three marks in A can be approached from different angles:
The versions of the editions resulted from the marks in b. 170-171 having been unified; none of these changes resembles Chopinesque proofreading process. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A |