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Op. 23, Ballade in G minor

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Rhythm

b. 167-169

composition: Op. 23, Ballade in G minor

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The deletions visible in A allow us to try to reconstruct the earlier version provided with a different rhythm: . In the final version, Chopin used this rhythmic variant in b. 115, where it works well with the change of the register that occurs in the theme's melody.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 174

composition: Op. 23, Ballade in G minor

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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

b. 178

composition: Op. 23, Ballade in G minor

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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. 179

composition: Op. 23, Ballade in G minor

Notation in A (→FE)

Notation in GE

Notation in EE
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The individual voices of the polymetric R.H. figure are not strictly placed in any of the sources, regardless of whether with respect to each other or whether with respect to the L.H. quavers. According to us, as far as the mutual relations between the R.H. voices are concerned, the only imprecision in the notation of A (→FE), i.e. all voices falling on the a1-d1-g2 chord, is intentional and directly indicates the performance manner intended by Chopin. In turn, the attempts of GE and EE to perfect this notation are unsuccessful – in both editions the quaver triplet in the top voice fills the last crotchet of the bottom voice quadruplet, which is a mistake, since the top voices are formally written down in a regular three-crotchet division. Moreover, the aforementioned chord was divided by EE, which, although mathematically correct, is contrary to the Chopinesque notation and most probably to the performance too.
As far as the mutual arrangement of both hands is concerned, it is only the version of FE that can be considered correct, i.e. the only featuring the correct synchronisation of the R.H. quadruplet with the L.H. quavers. The version of A is simply inaccurate in this respect, while the one of GE and EE – erroneous.
In the main text we reproduce the notation of FE, the only one devoid of mistakes in the arrangement of notes yet preserving the nature of the notation of A (a1-d1-g2 as the second element of the quadruplet). According to us, practically, one could apply another improvement: the last 2 quavers could be included in the superior rhythm of the crotchet quadruplet: . In the Chopinesque version, the gap between the last a1 note in the quadruplet and the f1 note belonging to the triplet is very small (1/6 of a quaver), and the difference between the position of the e2 quaver in the Chopinesque version and the one suggested here is twice as much smaller, which justifies them being equated.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Inaccuracies in A

b. 180

composition: Op. 23, Ballade in G minor

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GE3 (→GE4) added a digit 3 over the first quaver, as if it constituted a part of the triplet with the next one, as in all subsequent, similar motifs. However, a respective rest is missing; moreover, the notes were not moved with respect to the L.H. part, which points to an unfinished change (intended and arbitrary) or to a mistake of the reviser (which seems more likely).

category imprint: Differences between sources

issues: Errors in GE , GE revisions