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Issues : Deletions in A
b. 144
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composition: Op. 23, Ballade in G minor category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes , Authentic corrections of FE |
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b. 158-161
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composition: Op. 23, Ballade in G minor
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Having returned to the key of E category imprint: Editorial revisions; Corrections & alterations; Source & stylistic information issues: Cautionary accidentals , Deletions in A , Last key signature sign |
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b. 159-160
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composition: Op. 23, Ballade in G minor
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Under these three L.H. chords, one can see deletions in A; however, they allow us to decipher the deleted text – the same chords written down an octave lower. According to us, it did not necessarily have to be the initial version but a mistake – a bar earlier, an identical motif is written down in the bass clef; while writing the same chords in the treble clef, Chopin could have had the impression that the very change of clef assured the transfer of the notes an octave higher. Cf. a similar situation in the Scherzo in C category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Authentic corrections of FE |
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b. 167-169
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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: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 170-172
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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: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |