mUltimate Chopin

Op. 23, Ballade in G minor

Text Compare Notes Sources Description

Issues : Deletions in A

b. 144

composition: Op. 23, Ballade in G minor

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category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes , Authentic corrections of FE

b. 158-161

composition: Op. 23, Ballade in G minor

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Having returned to the key of E major at the beginning of b. 158, Chopin inserted and then deleted in A the naturals to a in this bar (in the right and left hands) and to a1 in b. 159. By contrast, he left the cautionary  to a2 in the R.H. in b. 161. This version was repeated by all editions. In the main text we add cautionary naturals to a1 in b. 159 and a2 in b. 160-161 and cautionary flats to the L.H. e1/2/3 notes in b. 158-161.

category imprint: Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Cautionary accidentals , Deletions in A , Last key signature sign

b. 159-160

composition: Op. 23, Ballade in G minor

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Under these three L.H. chords, one can see deletions in A; however, they allow us to decipher the deleted text – the same chords written down an octave lower. According to us, it did not necessarily have to be the initial version but a mistake – a bar earlier, an identical motif is written down in the bass clef; while writing the same chords in the treble clef, Chopin could have had the impression that the very change of clef assured the transfer of the notes an octave higher. Cf. a similar situation in the Scherzo in C minor, Op. 39, b. 345-347. Interestingly, traces of an identical correction introduced in print are also visible in FE. The only possible explanation would involve Chopin having introduced the correction into A after FE1 had already been engraver, e.g. while proofreading this edition. Did Chopin want to 'erase all evidence' of his (possible) mistake? It could have been distraction – while comparing two texts of the Ballade in search for mistakes, A and the proof copy of FE1, Chopin could have discovered his mistake when looking at A and automatically corrected it there; afterwards, he would mark the change in the printed text. Cf. a similar situation in b. 171.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Authentic corrections of FE

b. 167-169

composition: Op. 23, Ballade in G minor

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The deletions visible in A allow us to try to reconstruct the earlier version provided with a different rhythm: . In the final version, Chopin used this rhythmic variant in b. 115, where it works well with the change of the register that occurs in the theme's melody.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 170-172

composition: Op. 23, Ballade in G minor

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The deletions visible in A reveal that Chopin changed the bottom notes in the 1st crotchet in b. 170 and in the quavers ending b. 170-171. It is possible to read the deleted versions, which allows us to reproduce (with high probability) the earlier version of the R.H. part in b. 170-172: . The last stage of shaping this fragment was the change introduced into b. 171 while proofreading FE2.
The second L.H. figure in b. 171 was also being changed.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A