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b. 162

composition: Op. 23, Ballade in G minor

g3 in A

c4 in FE1

b3 in FE2, GE & EE
..

The version of A is most probably a Terzverschreibung, which would often happen to Chopin with a larger number of ledger lines – cf., e.g. the Polonaise in C minor, Op. 26 No. 1, b. 5 or the Concerto in F minor, Op. 21, II mov., b. 83. Chopin corrected it twice while proofreading FE – FE1 includes c4, and it is only just FE2 and the remaining editions that include b3.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Authentic corrections of FE

b. 162

composition: Op. 23, Ballade in G minor

..

The cautionary natural to a1 was added – perhaps by Chopin – in the stage of proofreading FE (→GE,EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 162

composition: Op. 23, Ballade in G minor

f3 grace note in A

f2 grace note in FE (→GE,EE)
..

In A, the grace note is so close to the f4 quaver that the 8 digit opening the octave sign, although actually placed over f4, encompasses the grace note too. In spite of that, FE (→GE,EE) clearly excluded the grace note from the octave sign, which is, according to us, a mistake, since it constitutes a sonically unjustified complication. Such a problem with a grace note and an octave sign is also to be found in other pieces by Chopin, e.g. in the Sonata in B minor, Op. 58, 4th mov., b. 254 and 258, where it seems that the grace notes are not encompassed with the octave sign in both places, yet the pianistic context (and in b. 254 also the musical context) is an argument for inaccuracy of notation.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccuracies in A

b. 162

composition: Op. 2, Variations, complete

e in chord in AsI, contextual interpretation

g in chord in A (→GE→FE,EE,FESB)
..

The third (e) of the seventh chord present in AsI having been replaced with a g fifth seems to be the composer's mistake rather than an intended change. It is indicated by:

  • complete lack of the third of the chord on the 4th quaver in the bar in this version – performing the Variations solo,
  • e present in a respective chord in both analogous b. 138 and 146,
  • the presence of a third in the orchestral part, which, in this bar, is no different from both previous analogous places.

In this situation, in the main text we adopt the version of this chord written down in AsI, adding a  to that note, undoubtedly overlooked by inadvertence in this draft manuscript.
See also the note in the next bar.

category imprint: Differences between sources

issues: Errors of A

b. 162

composition: Op. 2, Variations, complete

f-a-c1 in AsI

c-f-a in A (→GE→FE,EE,FESB)
..

The correction entered into AsI on the 2nd quaver in the previous bar, which allows to avoid a situation in which c1 is played simultaneously by both hands, makes us think that Chopin wanted to change accordingly the 2nd quaver in the discussed bar too already back then; however, he implemented it only just in A.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes