mUltimate Chopin

Op. 23, Ballade in G minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 155

composition: Op. 23, Ballade in G minor

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In the entire descending passage, there is not a single accidental in A. FE added only a  to the 6th quaver (c3); the fact that it was only the 1st octave of the passage that was proofread may indicate Chopin as the initiator of the procedure. GE and EE added all the necessary sharps.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A , Errors repeated in FE

b. 158-160

composition: Op. 23, Ballade in G minor

Shorter  in A

Longer  in FE

Extended  in GE & EE

Shortened  in GE1a
..

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

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. 162

composition: Op. 23, Ballade in G minor

g3 in A

c4 in FE1

b3 in FE2, GE & EE
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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

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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