mUltimate Chopin

Op. 23, Ballade in G minor

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 165

composition: Op. 23, Ballade in G minor

in A

No marking in FE1 (→GE)

Accent in FE2 (→EE)
..

The missing  mark in FE1 is most probably an oversight by the engraver. We assume that the accent added – most probably by Chopin – in the stage of proofreading FE2 expresses the composer's final intention; therefore, we give it in the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 170-171

composition: Op. 23, Ballade in G minor

Staccato dots in A

No marks in FE (→GE,EE)
..

It is uncertain whether the missing staccato/portato dots in FE (→GE,EE) resulted from proofreading (performed by Chopin, who changed the concept concerning the articulation of the quintuplets in b. 170-171) or from an oversight by the engraver. Even if they were accidentally overlooked (which is indicated by the fact that there are no traces of removal of these marks in FE), Chopin did not consider it necessary to add them, neither while proofreading FE (twice) nor while working on the Ballade with Miss O'Meara (married name Dubois). Due to the above, in the main text we give the version of the principal source, i.e. FE2.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 171

composition: Op. 23, Ballade in G minor

..

Below you can find the original version of the accompaniment in the 2nd half of the bar: . This version is present in A, but the 2nd, 3rd, 5th and 6th quavers are deleted; below, there are notes of the final version, placed a third lower. However, the traces of corrections present in FE prove that the deleted version was initially printed also in FE and only then changed in print to the final text. It is difficult to say how it occurred – the engraver could have misunderstood the correction in A (it is unlikely, since it seems clear) or Chopin could have had also A in front of him while proofreading FE1 and, by mistake, marked the correction in the manuscript first. Cf. a similar situation in b. 159-160.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A , Authentic corrections of FE

b. 171

composition: Op. 23, Ballade in G minor

d2-a2 & a2-b2 in A & FE1 (→GE1→GE2, →EE1→EE2)

d2-a2 & a2-b2 in A & FE1 (→GE1→GE2, →EE1→EE2)

d2-a2-a2 & d2-b2 in FE2

d2-a2-a2 & d2-b2 in FE2

a2-a2 & d2-b2 suggested by the editors

a2-a2 & d2-b2 suggested by the editors

f2-a2 & d2-a2-b2 in GE1a

f2-a2 & d2-a2-b2 in GE1a

a2-a2 & b2 in GE3 (→GE4)

a2-a2 & b2 in GE3 (→GE4)

a2 & d2-a2-b2 in EE3

a2 & d2-a2-b2 in EE3
..

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

b. 173

composition: Op. 23, Ballade in G minor

Mordent in A

Grace note in FE (→GE,EE)
..

We consider the grace note in FE (→GE,EE) the latest authentic version, although it seems that the mordent present in A was not being removed at the stage of proofreading. No traces of corrections in print suggests that the engraver of FE omitted the ornament, and Chopin simply added a grace note while proofreading FE. Therefore, the deletions in A prove that the composer hesitated, since it was the grace note that was removed there and replaced with a mordent. In this situation, both versions may be considered equal variants. Similar variations are to be found in other pieces by the composer, e.g. in the Ballade in A, Op. 47, b. 3 and 39 or the Mazurka in C minor, Op. 30 No. 1, b. 1, 5 and 9, 13.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A , Authentic corrections of FE , Main-line changes