mUltimate Chopin

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Issues : Corrections in A

b. 8

composition: Op. 28 No. 15, Prelude in D♭ major

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The crossing-out visible in A reveals that the 1st quaver in the 2nd half of the bar was initially d. 

category imprint: Corrections & alterations; Source & stylistic information

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

b. 8-11

composition: Op. 28 No. 16, Prelude in B♭ minor

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In A one can see that Chopin would prolong certain L.H. slurs by adding to the slur the 4th quaver of three consecutive halves of bars, A, B and d, respectively. A similar situation can be found between b. 11 and 12.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

b. 8-19

composition: Op. 23, Ballade in G minor

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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. 9

composition: Op. 27 No 2, Nocturne in D♭ major

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Traces of erasing visible in A allow us to decipher the probable initial version of the accompaniment in that bar as: .

category imprint: Corrections & alterations

issues: Corrections in A , Accompaniment changes

b. 9

composition: Op. 28 No. 3, Prelude in G major

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Chopin most probably changed in A the rhythm of the R.H. top voice. Initially, the f2 minim was provided with two dots only, while e2 was a quaver, which was changed by an additional third dot next to the minim and an additional second flag to the quaver. It is indicated by:

  • the fact that the e2 semiquaver was placed exactly above the penultimate L.H. semiquaver;
  • the difference in the notation of the dots prolonging the f2 minim – the third one is placed higher than the previous ones and is smaller, which means that it was entered at a different time.

We observe an earlier version of rhythm in FCI both here and in b. 7. Could a similar correction take place in A also in that bar? It is difficult to say – the notation neither excludes nor confirms such a possibility.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A