mUltimate Chopin

Op. 23, Ballade in G minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 63

composition: Op. 23, Ballade in G minor

d2 in A & FE2, GE & EE

b1 in FE1
..

The b1 note in FE1 must be a mistake of the engraver, corrected in FE2 (probably by Chopin). The correct version in GE and EE may mean that it was also the bases for these editions that included Chopinesque corrections; however, it is uncertain, since such a mistake could have been detected by the reviser thanks to the very regular structure of the passages of this section.

In A, one can see another deleted note between the f1 and d2 quavers, most probably b1. The gaps between the notes in the entire group suggest that it was not replaced by d2, but removed from the initial version of the passage, which probably did not include the 2nd quaver, d1: .

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: EE revisions , Errors in FE , Corrections in A , Terzverschreibung error , GE revisions , Deletions in A , Authentic corrections of FE , Main-line changes

b. 65-67

composition: Op. 23, Ballade in G minor

..

It is only GE that include the correct version of the R.H. rest in the 2nd half of b. 65. In A and EE, there is only a minim rest (without a dot), while in FE there is no rest at all. In the 1st half of b. 67, A (→FE→EE) contain only a minim rest too, which suggests that it was considered to be filling a half of the bar (analogously to a semibreve rest).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , EE inaccuracies , Inaccuracies in A

b. 68

composition: Op. 23, Ballade in G minor

in A

     in FE (→EE)

    in GE
..

In A, there is only one  mark, at the beginning of the bar. The remaining ones were added in the stage of proofreading FE (→EE) – along with the markings in the next bars – almost certainly by Chopin. One can have doubts whether all the marks entered by the composer were put in the correct place, since Chopin would often put them inaccurately, while the engravers would sometimes combine them with a wrong note. It is particularly the second  mark that seems to be placed too far (cf. b. 72, in which the 2nd  mark is placed certainly a crotchet too late). Due to the above, according to us, both versions of the editions may be considered equal variants.

In both cases, "harmonic legato" is probably to be applied (holding the chord's elements with fingers): .

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Authentic corrections of FE

b. 69

composition: Op. 23, Ballade in G minor

e1 tied in A, EE3 & GE4

e1 repeated in FE (→GE1→GE2→GE3,→EE1→EE2)
..

The missing tie to the e1 minim in FE and in the majority of the impressions of GE and EE almost certainly results from an oversight of the engraver of FE1. It is proven by the lack of a dot prolonging this note in FE, which could not have resulted from proofreading (the dot, without which the rhythm in this bar is incomplete, was added by GE and EE). The tie was added by EE3 and GE4, most probably under the influence of an analogy to b. 77.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 72

composition: Op. 23, Ballade in G minor

No markings in A

under 5th crotchet in FE (→EE)

under 4th crotchet in GE
..

The second  mark in this bar is almost certainly misplaced in FE (→EE). It is indicated by a comparison with analogous figures in the next bars. GE moved the mark correspondingly.

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions