Issues : Errors in EE
b. 170
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composition: Op. 23, Ballade in G minor
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In A (→FE), the b2-b2 augmented unison is written in such a way that the stem reaches only the left notehead (b2). In A, the notation is clear, since the stem is placed to the right of the notehead, hence it falls between both notes, and the gap between the right note and the next e2-c3 sixth is evident. However, FE, although the notation is practically the same, placed the stem (in accordance with the rule) to the left of the b2 notehead, while b2 is so close to the sixth that both GE1 (→GE1a,GE2) and EE interpreted these notes as a chord: e2-b2-c3. It was only GE3 (→GE4) that guessed how the version of FE is to be understood. See also b. 171. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Errors in EE , Errors in GE , GE revisions |
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b. 171
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composition: Op. 23, Ballade in G minor
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The version of A (→FE1) (→GE1→GE2 →EE1→EE2) was changed in FE2. The change was almost certainly performed at Chopin's request; however, it is unlikely that he would have wanted to leave d2 in the penultimate crotchet of the quintuplet – the aim of the correction was most probably a version analogous to b. 170. Therefore, it would be an example of an unfinished correction – the engraver was supposed to move d2 from the 4th crotchet to the 5th; he inserted it in a new place, but did not remove it from the former. Such mistakes are very frequent, e.g. in the Ballade in F, Op. 38, b. 179, the Scherzo in B minor, Op. 20, b. 135 and 292 or the Polonaise in A, Op. 40 No. 1, b. 93). Therefore, in the main text we suggest a respectively modified version of FE2, most probably intended by Chopin. Versions of the remaining sources are arbitrary attempts to partially or completely unify the respective fragments of b. 170 and 171. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations issues: EE revisions , Errors in EE , Errors in GE , GE revisions , Authentic corrections of FE |
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b. 220-221
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composition: Op. 23, Ballade in G minor
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In A, there are no rests in the top voice. Chopin would often omit such rests in obvious situations; however, he was not always consistent – cf. b. 216 (without rests) and 218 (with a rest). Anyways, the two-part notation is marked by the direction of the stems. This notation was reproduced by FE, yet rests were added in b. 221, perhaps at Chopin's request. Therefore, in this situation b. 220 having been left without a rest must be considered an inadvertence, hence, to avoid doubts, we add a rest also in this bar in the main text. In GE and EE the absence of a rest prompted the engravers to make the stem of the c minim point upwards, which turned an inaccurate notation into a wrong notation. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE , Errors in GE , GE revisions , Authentic corrections of FE , FE revisions |
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b. 226
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composition: Op. 23, Ballade in G minor
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The version of EE is a typical Terzverschreibung mistake, in this case probably additionally influenced by the sixths in the adjacent bars. category imprint: Differences between sources issues: Errors in EE , Terzverschreibung error |
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b. 229
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composition: Op. 23, Ballade in G minor
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EE1 (→EE2) overlooked the naturals to the octave on the 3rd crotchet. The mistake was corrected by EE3. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in EE |