mUltimate Chopin

Op. 23, Ballade in G minor

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Issues : EE revisions

b. 1

composition: Op. 23, Ballade in G minor

Title in A (→FE→GE)

Title in EE
..

As in many other works by Chopin, EE arbitrarily changed the authentic title of the Ballade, calling it "La Favorite". Cf Nocturne Op. 27 No. 1.

category imprint: Differences between sources

issues: EE revisions , Various titles

b. 7

composition: Op. 23, Ballade in G minor

e1 in A (→FE→EE1→EE2)

d1 in GE & EE3
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The version of GE may be either a revision of this edition (cf. the comment on b. 45-47) or a variation introduced by Chopin (e.g. along with Lento – cf. the comment on b. 1). The vast majority of arguments are for the former, i.e. for this chord being arbitrarily revised in GE:

  • clear notation of A, repeated without changes in FE, which was proofread by Chopin twice;
  • testimonies of Chopin's pupils and friends – Marcelina Czartoryska, Friederike Streicher, Ferdinand Hiller and Adolf Gutmann.

Therefore, in the main text we give e1, considering d1 a variant of uncertain authenticity.
The change in EE3 must have been introduced on the basis of a comparison with GE.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of GE

b. 9-21

composition: Op. 23, Ballade in G minor

No L.H. slurs in A (→FE→GE,EE1→EE2)

L.H. slurs in EE3
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In A (→FE→GE,EE1→EE2), the L.H. crotchets are provided with inconsistent articulation markings – in addition to the ubiquitous staccato dots, the pairs of crotchets in the 2nd half of b. 10, 12, 14, 16, 18 and 20 are also provided with a slur. When interpreted literally, the articulation deviates from the one indicated for the respective R.H. crotchets, which are consistently marked with both dots and slurs. However, there are no doubts that in this texture, based on the juxtaposition of the melodic top R.H. voice with the rhythmic and harmonic accompaniment performed by both hands, all elements of the crotchet chords are to be played with the same articulation. In the original layout, the slurs encompassing the pairs of the R.H. crotchets are placed above them, which naturally suggests that they also refer to the L.H. crotchets. Chopin would often reach for such a simplified notation – cf., e.g. the middle section of the Mazurka in A major, Op. 50 No. 2, in which the performance of the L.H. part, devoid of markings, must include the indications written in the R.H. Should we assume such an interpretation, it becomes clear why there are slurs in the L.H. part in the aforementioned bars – in those places the crotchet accompaniment is in the L.H. only.
In the main text we move the markings concerning the R.H. crotchets under the stave, which ensures better readability of the R.H. part; at the same time, it visually excludes the L.H. part from the impact of those markings. Therefore, to avoid any doubts, we give slurs over all L.H. crotchets. In analogous b. 95-99 Chopin himself, while proofreading FE1, supplemented his original notation in this way. This solution was also adopted by EE3.

category imprint: Interpretations within context; Editorial revisions

issues: EE revisions

b. 18-20

composition: Op. 23, Ballade in G minor

No marks in A (→FE)

Accent in b. 18 in GE

2 accents in EE

2 long accents suggested by the editors
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In A, a new page begins from b. 17, which could have been the reason Chopin overlooked the accents in b. 18 and 20. Due to the above, in the main text we suggest adding respective marks after b. 8, 10 and analog. Short accents modelled on the preceding bars were also added in EE; by contrast, in GE it was only the accent in b. 18 that was added.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 23

composition: Op. 23, Ballade in G minor

..

In FE (→GE), the staccato dots of the E and D bass crotchets were overlooked. They were added by EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE