mUltimate Chopin

Op. 23, Ballade in G minor

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b. 170

composition: Op. 23, Ballade in G minor

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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

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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

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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. 170-171

composition: Op. 23, Ballade in G minor

Staccato dots in A

No marks in FE (→GE,EE)
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It is uncertain whether the missing staccato/portato dots in FE (→GE,EE) resulted from proofreading (performed by Chopin, who changed the concept concerning the articulation of the quintuplets in b. 170-171) or from an oversight by the engraver. Even if they were accidentally overlooked (which is indicated by the fact that there are no traces of removal of these marks in FE), Chopin did not consider it necessary to add them, neither while proofreading FE (twice) nor while working on the Ballade with Miss O'Meara (married name Dubois). Due to the above, in the main text we give the version of the principal source, i.e. FE2.

category imprint: Differences between sources

issues: Errors in FE , Authentic corrections of FE

b. 170-172

composition: Op. 23, Ballade in G minor

Wedges in A, probable reading

Dots in FE (→GE,EE)
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The available photograph of A gives no certainty as to the form of the staccato markings over the octaves in the middle of each of these bars, i.e. whether they are wedges or dots. It seems that the marks in b. 171 and 172 are almost certainly wedges, which is also possible in the case of b. 170, which, however, was not reproduced by the editions. In the main text we keep the dots present in our principal source, FE2, in spite of the fact that the marks were chosen (not necessarily accurately) probably by the engraver of FE. This solution is supported by the editorial consistency with respect to the dots over the quintuplet crotchets in b. 170-171 along with the arguments presented therein and by the aforementioned uncertainty of the interpretation of A on the basis of an imperfect photograph.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Wedges , Inaccuracies in A