mUltimate Chopin

Op. 23, Ballade in G minor

Text Compare Notes Sources Description

Issues : Deletions in A

b. 235

composition: Op. 23, Ballade in G minor

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The deletion visible in A next to the c-c1 octave most probably covers the initial version of this octave. According to us, it could have been d-d1.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 247

composition: Op. 23, Ballade in G minor

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In A, one can see two more deleted notes between the c3 and b2 quavers; in addition, the not entirely removed stem of the former was left untouched. Consequently, it probably caused the mistake of FE, in which one can see traces of removal of a redundant note, most probably c3, placed between d3 and c3. It is uncertain what the aim of the corrections of A was. Below we present a hypothetical reconstruction of a respective fragment with the removed notes having been revealed: . The notation can be explained as follows:

  • After d3, the first notes to have been written down were the three 'top' quavers c3-b2-a2, which means that Chopin wanted to start writing down the roulade without an octave sign already from c3; moreover, it means that he overlooked the c3-b2-d3 motif.
  • Chopin then changed his intentions as to the end of the octave sign, removed c3-b2, written down without an octave sign, and rewrote them an octave lower, planning to encompass them with an octave sign.
  • In that moment, he decided to add the c3-b2-d3 motif, or, which we consider more likely, he noticed that he had overlooked it. Therefore, he removed the 'bottom' b2 he had just entered and the following a2, before continuing with writing, starting from b2.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Deletions in A , Authentic corrections of FE

b. 248

composition: Op. 23, Ballade in G minor

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In A one can see a deleted  mark, more or less under the b1 semiquaver.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 251-255

composition: Op. 23, Ballade in G minor

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We keep the notation of A (→FE), where the accidentals in b. 251 for the R.H. part are then not repeated before the same L.H. notes. An analogous situation is to be found in b. 255. In A one can even see that Chopin deleted all accidentals that had been written in those places – four in b. 251 and the   to e in b. 255. GE and EE added the accidentals, hence the L.H. has as many accidentals as the right one.

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

issues: EE revisions , GE revisions , Deletions in A

b. 252-253

composition: Op. 23, Ballade in G minor

 &  in A

 &  in FE

 in GE

2  & 2  in EE
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The deletions visible in A reveal that Chopin considered the dynamic markings over the R.H. part not suggestive enough and moved them lower, between the parts of both hands. None of the sources reproduced this notation accurately – in FE (→GE) the marks were placed too low, before the L.H. part, while GE overlooked . The revision of EE is noteworthy, i.e. the R.H. chords were moved to the top stave (which we do not include in our transcriptions), and each hand was provided with its own dynamic markings.
See also b. 256.

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

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