mUltimate Chopin

Op. 23, Ballade in G minor

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Rhythm

b. 103-104

composition: Op. 23, Ballade in G minor

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In GE, the dots prolonging the g2 minims in b. 103-104 and g1 in b. 104 were overlooked (the latter was added by GE1a).

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category imprint: Differences between sources

issues: Errors in GE

b. 110-111

composition: Op. 23, Ballade in G minor

Crotchets in A

Crotchets & minims in FE (→GE,EE)
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The fact that the top note of the 5th L.H. crotchet is to be held must be a Chopinesque addition introduced in the stage of proofreading FE (→GE,EE) into both these bars.

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category imprint: Differences between sources

issues: Authentic corrections of FE

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.

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category imprint: Differences between sources

issues: Authentic corrections of FE , FE revisions

b. 113

composition: Op. 23, Ballade in G minor

Minim c2-f2 in A (→FE→GE,EE1→EE2)

Dotted minim in EE3
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It does not seem that Chopin wanted to hold this fourth to the end of the 1st half of the bar, which, as far as the rhythm and harmony are concerned, could be considered justified. The composer could have taken into account the piano grip – releasing the middle fingers makes it easier to perform the chord with grace notes, hence he did not want to suggest that they should be held. Anyway, if we include the authentic pedalling, the difference between both versions is practically imperceptible. 

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category imprint: Differences between sources

issues: EE revisions

b. 120-121

composition: Op. 23, Ballade in G minor

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The deletions visible in A in these bars and empty space after the most probably erased g1 note under the a2 quaver in b. 121, which was initially most probably a g2 (it did not have a ledger line that would cross it), reveal that initially the 2nd half of b. 120 and the 1st half of b. 121 were analogous to b. 118-119: . The missing mordent in this version allows us to imagine two scenarios of the changes:

  • the idea to diversify b. 120-121 with respect to b. 118-119 came to Chopin when he was just about to write a mordent in the initial version of b. 121;
  • initially, there were no mordents in both places; it was only the melodically developed version of b. 120-121 that prompted Chopin to add an ornament 2 bars earlier.
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category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes