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Op. 23, Ballade in G minor

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b. 110-112

composition: Op. 23, Ballade in G minor

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In A, the  raising b to b in b. 110 and 112 is missing. The patent inaccuracy was corrected in FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , FE revisions

b. 110

composition: Op. 23, Ballade in G minor

Additional slur in sources

No slur, our suggestion
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In the main text, we omit the additional slur encompassing the triplet, present in all sources – cf. General Editorial Principles, p. 16. In the next bar, a respective slur is missing.

category imprint: Editorial revisions

issues: Triplet slurs

b. 112

composition: Op. 23, Ballade in G minor

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FE (→GE) overlooked the  to the top note of the 1st R.H. chord (c3). The mistake was corrected in EE.

category imprint: Interpretations within context; Differences between sources

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

b. 112

composition: Op. 23, Ballade in G minor

Crotchet a1 in A

Minim a1 in FE (→GE,EE)
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The change to the rhythmic value of a1, from crotchet to minim, could have been introduced by the reviser to fill the 1st half of the bar in the bottom-most voice. Due to the same reason, he should have also prolonged the c2-f2 minims in the middle voice, hence the lack of such a change supports the Chopinesque origin of the a1 note having been prolonged. See also the note above.

category imprint: Differences between sources

issues: Authentic corrections of FE , FE revisions

b. 112-113

composition: Op. 23, Ballade in G minor

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The evolution of the slurring in these bars, visible in the deletions and corrections of A, could have looked like as follows:

  • Chopin started from 4 half-bar slurs in b. 112-113;
  • the slur in the 1st half of b. 113 was deleted and replaced with a shorter one, encompassing only the b2-a2 motif (the slur of the same range concerning the bottom voice could have been introduced at this stage as well); at the same time, a change was made to the slur in the 2nd half of the bar, i.e. it should start earlier – from the g2 quaver;
  • eventually, Chopin combined 3 slurs (the second in b. 112 and both in b. 113) in one, which he prolonged to the 1st chord in b. 114.

The slur received its final shape at the stage of proofreading FE – Chopin prolonged it to the beginning of b. 115.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A