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Op. 23, Ballade in G minor

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b. 170-172

composition: Op. 23, Ballade in G minor

 in A, literal reading

in FE

in GE

in EE

 suggested by the editors
..

The interpretation of the three  marks in A can be approached from different angles:

  • Literal interpretation, in which the range of the marks is related to the respective R.H. crotchets, which results in three increasingly shorter marks. Such a version, suggesting increasingly shorter and milder crescendos, matches the descending direction of this sequence;
  • the difference in the range of the first two marks may be regarded as insubstantial, which suggests that all three hairpins should be unified, since the shape of the melody is the same in each bar. We suggest this version in the main text.

The versions of the editions resulted from the marks in b. 170-171 having been unified; none of these changes resembles Chopinesque proofreading process.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A

b. 171

composition: Op. 23, Ballade in G minor

..

Below you can find the original version of the accompaniment in the 2nd half of the bar: . This version is present in A, but the 2nd, 3rd, 5th and 6th quavers are deleted; below, there are notes of the final version, placed a third lower. However, the traces of corrections present in FE prove that the deleted version was initially printed also in FE and only then changed in print to the final text. It is difficult to say how it occurred – the engraver could have misunderstood the correction in A (it is unlikely, since it seems clear) or Chopin could have had also A in front of him while proofreading FE1 and, by mistake, marked the correction in the manuscript first. Cf. a similar situation in b. 159-160.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A , Authentic corrections of FE

b. 171

composition: Op. 23, Ballade in G minor

d2-a2 & a2-b2 in A & FE1 (→GE1→GE2, →EE1→EE2)

d2-a2-a2 & d2-b2 in FE2

a2-a2 & d2-b2 suggested by the editors

f2-a2 & d2-a2-b2 in GE1a

a2-a2 & b2 in GE3 (→GE4)

a2 & d2-a2-b2 in EE3
..

The version of A (→FE1) (→GE1→GE2 →EE1→EE2) was changed in FE2. The change was almost certainly performed at Chopin's request; however, it is unlikely that he would have wanted to leave d2 in the penultimate crotchet of the quintuplet – the aim of the correction was most probably a version analogous to b. 170. Therefore, it would be an example of an unfinished correction – the engraver was supposed to move d2 from the 4th crotchet to the 5th; he inserted it in a new place, but did not remove it from the former. Such mistakes are very frequent, e.g. in the Ballade in F, Op. 38, b. 179, the Scherzo in B minor, Op. 20, b. 135 and 292 or the Polonaise in A, Op. 40 No. 1, b. 93). Therefore, in the main text we suggest a respectively modified version of FE2, most probably intended by Chopin.

Versions of the remaining sources are arbitrary attempts to partially or completely unify the respective fragments of b. 170 and 171.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations

issues: EE revisions , Errors in EE , Errors in GE , GE revisions , Authentic corrections of FE

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. 174

composition: Op. 23, Ballade in G minor

..

In FE, there are no dots prolonging the 1st chord. The patent mistake was corrected by GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions