Issues : Corrections in A

b. 8-19

composition: Op. 23, Ballade in G minor

..

In A, it can be seen that Chopin initially wrote over the characteristic quaver figure slurs that would not go beyond the bar line; it was only later that he prolonged them, leading them to the minims at the beginning of the following bar. Such corrections are clear in b. 8-9, 10-11, 12-13 and 18-19.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

b. 14-16

composition: Op. 23, Ballade in G minor

..

In A, one can see deletions of the bottom notes on the 2nd and 3rd crotchets in b. 14 and 16. Initially, they looked as follows: e1-b1-c2 and c1-e1-g1, respectively. See also b. 23.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 23

composition: Op. 23, Ballade in G minor

..

As in b. 14 and 16, in the last two R.H. crotchets, one can see in A traces of removal of the initially written bottom notes, g.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 33

composition: Op. 23, Ballade in G minor

..

In A, the R.H. part in the entire 2nd half of the bar was deleted and rewritten on the stave above. Insofar as it is possible to interpret the legible fragments, the change probably concerned the rhythmic issues only – it can be seen that the first 8 notes of the roulade were provided with semiquaver beams, 4 notes each, as in the 1st half of the bar. The corrections were carried out in two stages: first, Chopin deleted the final fragment of the roulade, which he then rewrote at the end of the line; it was only then that he deleted the entire 2nd half of the bar. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 40

composition: Op. 23, Ballade in G minor

..

In A one can see that initially the 2nd and 5th L.H. crotchets consisted of 3 notes, as in b. 36. The size of the deletions suggests that the removed notes – b and a, respectively – were minims, which means that the bottom notes of the top voice on the 3rd and 6th crotchets were almost certainly added later. It is also the top notes of the octaves on the 1st and 4th crotchets that were most probably added later, hence in the L.H. part the bar was identical to b. 36. There is a similar situation in the next two bars.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes