mUltimate Chopin

Op. 23, Ballade in G minor

Text Compare Notes Sources Description

Issues : GE revisions

b. 179

composition: Op. 23, Ballade in G minor

Notation in A (→FE)

Notation in GE

Notation in EE
..

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. 179

composition: Op. 23, Ballade in G minor

in A (→FE→EE,GE1→GE1a,GE2) & GE4

No sign in GE3
..

It is uncertain how the removal of  by GE3 came about. Anyway, it is a patent mistake, corrected by GE4.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 180

composition: Op. 23, Ballade in G minor

..

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

b. 191

composition: Op. 23, Ballade in G minor

No indication in A

ritenuto in FE (→GE,EE)
..

Chopin must have added ritenuto while proofreading FE (→GE,EE). GE used an abbreviation, i.e. riten.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE

b. 193

composition: Op. 23, Ballade in G minor

e2 in A (→FE→EE,GE1→GE1a,GE2)

d2 in GE3 (→GE4)
..

The change of authentic e2 to d2 performed several dozen years after Chopin's death was an arbitrary decision. It is difficult to say what prompted the reviser of GE3 to introduce it – whether he was convinced (unjustifiably) that it was a G minor chord that was valid as the harmonic basis or whether he was unable to find a comfortable fingering (after all, there are several possibilities).

category imprint: Differences between sources

issues: GE revisions