Issues : Corrections in A
b. 75
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composition: Op. 23, Ballade in G minor
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The way the notes are arranged in A indicates that a correction was made – two quavers and a triplet beam were added. Initially, there was probably only one note there, i.e. c2 (crotchet). category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Main-line changes |
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b. 112-113
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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:
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 |
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b. 120-121
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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:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 136
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composition: Op. 23, Ballade in G minor
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The più vivo indication was entered into A instead of the earlier sempre più vivo (which was deleted). According to us, the omission of sempre could have been correlated with it having been added before più animato in b. 126 (that sempre having been added later is evidenced by an unnaturally greater gap between sempre and più than between più and animato). In this situation, forgoing the indications in two places for a single più animato in b. 126, which we can see in FE (→GE,EE), can be considered the last stage of shaping the agogic changes in this fragment – Chopin could have assumed that such a solution would define here the relationships between the tempi in a simplest and most accurate manner, since it is from this bar that a new section begins, featuring a clearly different texture. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Errors in FE , Corrections in A , Deletions in A , Authentic corrections of FE |
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b. 140
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composition: Op. 23, Ballade in G minor
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In A (→FE→GE), there is no accidental to the 4th L.H. crotchet. Chopin's patent, as it seems, oversight went unnoticed by FE and the majority of GE; it was corrected only by EE and GE1a. In A, the L.H. part was being corrected in this bar; consequently, due to deletions, Chopin was forced to write the final version on an adjacent stave. However, the flat was not overlooked due to the corrections, since it was also absent in the initial version of notation. The change concerned mainly rhythm, i.e. there were rests instead of the 3rd and 6th crotchets: . Before deleting the entire bar, Chopin probably changed the last chord too: (both examples are to be interpreted in the key of E major, featuring A and a notes). category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information issues: EE revisions , Corrections in A , GE revisions , Deletions in A , Accompaniment changes , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE |