Issues : Corrections in A
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b. 8
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composition: Op. 28 No. 24, Prelude in D minor
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One can see a crossed-out semiquaver rest between the last two R.H. notes in A. Chopin performed the same correction in analogous b. 26, which confirms that it was only just at the stage of writing A that Chopin forwent the division of this motif into two parts. See also b. 46. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 8
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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 |
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b. 8-11
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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 category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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b. 8-19
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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 |
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b. 8
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composition: (Op. 4), Sonata in C minor, Mvt IV category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
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