mUltimate Chopin

Op. 23, Ballade in G minor

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b. 137

composition: Op. 23, Ballade in G minor

a3 in A

a3 in FE (→GE,EE)
..

It must have been Chopin who removed the natural to the 5th quaver while proofreading FE (→GE,EE). This is the second correction at this point – in A one can see that the next note was also changed, most likely from g3 to f3. Therefore, the last two notes of the first half of the bar were, in chronological order, a3-g3, a3-f3, and a3-f3.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes

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

b. 178

composition: Op. 23, Ballade in G minor

..

In A, Chopin shortened the rhythmic value of the b2-b3 minim by removing the dots and adding a crotchet rest.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A , Main-line changes

b. 224-226

composition: Op. 23, Ballade in G minor

..

The correction to the last quaver in b. 226 visible in A – it was probably the e2-g2 third that was deleted – could be considered an improvement introduced due to a different bass sequence. However, the last quaver was also corrected in b. 224, where the bass is the same as in the previous two occurrences of analogous bars (b. 216 and 218). Therefore, it seems that Chopin was already certain of the concept of both versions of this quaver while writing b. 224; however, the versions overlapped in his mind, thus resulting in mistakes in both places.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Deletions in A , Main-line changes