mUltimate Chopin

Op. 23, Ballade in G minor

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Pitch

b. 170

composition: Op. 23, Ballade in G minor

b2-b2 & e2-c3 in A (→FE) & GE3 (→GE4)

b2 & e2-b2-c3 in GE1 (→GE1a,GE2) & EE
..

In A (→FE), the b2-b2 augmented unison is written in such a way that the stem reaches only the left notehead (b2). In A, the notation is clear, since the stem is placed to the right of the notehead, hence it falls between both notes, and the gap between the right note and the next e2-c3 sixth is evident. However, FE, although the notation is practically the same, placed the stem (in accordance with the rule) to the left of the b2 notehead, while b2 is so close to the sixth that both GE1 (→GE1a,GE2) and EE interpreted these notes as a chord: e2-b2-c3. It was only GE3 (→GE4) that guessed how the version of FE is to be understood. See also b. 171.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Errors in EE , Errors in GE , GE revisions

b. 170

composition: Op. 23, Ballade in G minor

..

In the sources, there is a  in the middle of the bar before the bottom note of the a2-a3 octave. In the main text we omit this unnecessary accidental, in accordance with the way in which such a combination of a grace note and the following note at the same pitch was usually written down by Chopin.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 170-172

composition: Op. 23, Ballade in G minor

..

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

b. 170

composition: Op. 23, Ballade in G minor

..

None of the sources includes a  restoring e2 at the end of the bar. It must be Chopin's oversight – it is the most frequent mistake committed by Chopin. In this case, the likelihood of an error was additionally increased by the change of pitch of the note – initially, Chopin wrote here a2 in A – performed almost certainly due to the combination with the next bar.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors resulting from corrections , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

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