Issues : Deletions in A
b. 199
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composition: Op. 23, Ballade in G minor
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In A one can see that the last two crotchets were initially d1-g1-b1 chords, out of which Chopin eventually removed the d1 notes (he introduced an analogous correction into b. 99 only just while proofreading FE). category imprint: Corrections & alterations; Source & stylistic information issues: Deletions in A , Accompaniment changes |
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b. 202-204
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composition: Op. 23, Ballade in G minor
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In A we can see the deleted initial version of the first two chords in the bottom L.H. voice, i.e. g-b-c1. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 207
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composition: Op. 23, Ballade in G minor
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In A, one can see numerous deletions in the L.H. part in this bar – it was only the initial octave that was not changed. Chopin deleted individual crotchets to eventually cross out the entire 2nd half of the bar and write the final version of the last three crotchets on an adjacent stave (below). We present a possible transcription of the main L.H. stave, taking into account a possible interpretation of the deleted crotchets: . We would like to point out that the interpretation on the basis of the available photograph is subject to a great deal of uncertainty. Above all, we assume that the deleted crotchets were dyads and not, e.g. triads. The latter cannot be excluded, yet it seems that Chopin was looking for the best position and maybe also shape of this accompanying figure. To guess the initial version on the basis of this notation, we must first determine which of the seven crotchets written there constituted it. According to us, there are two possible approaches:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 216
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composition: Op. 23, Ballade in G minor
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The deletion visible in A reveals that Chopin initially wrote a crotchet stem for the a2 quaver; eventually, however, he decided to replace it with an accent. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 224-226
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composition: Op. 23, Ballade in G minor
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The correction to the last quaver in b. 226 visible in A – it was probably the e2-g2 third that was deleted – could be considered an improvement introduced due to a different bass sequence. However, the last quaver was also corrected in b. 224, where the bass is the same as in the previous two occurrences of analogous bars (b. 216 and 218). Therefore, it seems that Chopin was already certain of the concept of both versions of this quaver while writing b. 224; however, the versions overlapped in his mind, thus resulting in mistakes in both places. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , Deletions in A , Main-line changes |