Chopin Ballade No. 1 Question

[spirithorn]

A good friend of mine is currently learning the 1st Ballade and asked a notation question to which I do not have an answer, and have been unable to find an answer.  In the closing octave passage at the end of the piece, the 2nd half of a measure and the 1st half of the following measure have quarter note triplet octaves with grace notes.  In the 2nd half of the latter measure, there are also 1/4 note octave triplets, but without the grace notes.  Instead, there is a thin, slanted single line through the note stems (both LH and RH).  It looks sort of like a repeated note indication, except the repeat notation is usually bolder, like the "beam" in eighth notes.  After this, it's straight octaves (without the slanted line notation).  In the three editions that I have, the Paderewski does not show this at all, but it is in the Kalmus and Alfred - Palmer.  Palmer make no mention in any footnote, so the meaning must be obvious, but not to me!  I have never noticed any different articulation is various recordings.  A long-winded question, I know, but any insight would be appreciated.

[larse]

I have the Henle Edition. And it's agreeing with Paderewski. Which leads only to one conclusion: Ignore it. It's just supposed to be 6 octaves with grace notes and the rest is just regular octaves with accelerando.

[spirithorn]

I have the Henle Edition. And it's agreeing with Paderewski. Which leads only to one conclusion: Ignore it. It's just supposed to be 6 octaves with grace notes and the rest is just regular octaves with accelerando.

Thanks.  That's the way I've always heard it performed.  The notation in the editions mentioned was just a bit puzzling.

[quantum]

This was a form of shorthand notation used at the time of writing.  It's meaning is similar to that with the previous tied grace notes, but is played quicker.  You break the octave in the direction of the slanted line.  Thus, in addition to the accellerando this also implies a gradual quickening in the manner of attacking the grace notes.  There are 9 broken octaves, then straight octaves. 

[spirithorn]

This was a form of shorthand notation used at the time of writing.  It's meaning is similar to that with the previous tied grace notes, but is played quicker.  You break the octave in the direction of the slanted line.  Thus, in addition to the accellerando this also implies a gradual quickening in the manner of attacking the grace notes.  There are 9 broken octaves, then straight octaves. 

Thanks for the input.  In the recordings that I've heard, this articulation (if it's there at all) seems to go by so quickly as to be practically imperceptible.  Probably why some editions ignore it.