Issues : Corrections in A
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b. 3-6
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composition: Op. 10 No 10, Etude in A♭ major
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The notation of e category imprint: Editorial revisions issues: Corrections in A , Errors resulting from corrections |
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b. 3-4
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composition: Op. 21, Concerto in F minor, Mvt I
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The slur, combining in A the 4th beat of bar 3 with the chord at the beginning of bar 4, concerned the original (deleted) version of the last crotchet in bar 3, in which the b note was assigned to the L.H. and written on the bottom stave. As a result, one can ponder whether in the new notation of the chord ending bar 3 the sign was to be applied too. However, since Chopin did not delete the slur, we include it in the main text, adjusting only its shape to the present notation. Omission of the slur in the editions seems to be, however, understandable in the face of the described ambiguity. na c1 category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors in GE , Inaccuracies in A |
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b. 3-15
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composition: Op. 28 No. 3, Prelude in G major
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As far as the time intervals between subsequent R.H. notes are concerned, the rhythm of the first phrase (b. 3-6 and 12-15) is no different in FCI from the one Chopin eventually sent to be published. The crossings-out visible in A in b. 3 confirm that the version without rests, preserved in FCI, is earlier. Thanks to the rests, the theme is more precisely articulated and more volatile at the same time. It is also reflected in the slurring – see b. 12. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A , Main-line changes |
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b. 3-4
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composition: Op. 28 No. 24, Prelude in D minor
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In the first part of both bars, one can see crossings-out in the R.H. part in A. In b. 3 the correction most probably concerned rhythm – it seems that Chopin started writing the first two notes as a dotted quaver and a semiquaver. The crossings-out in the 1st half of b. 4 could have concerned two rests (a crotchet rest and a quaver one). It would mean that the dotted d1 crotchet and the tie that reaches it were added later. Traces of such minor rhythmic changes can also be seen later on, see, e.g. b. 5 and 8. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 3
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composition: Op. 28 No. 23, Prelude in F major
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The crossings-out and additions visible in A reveal that Chopin initially provided each of the half-bar figures – in the right and left hands – with a separate slur. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
notes as minims, used by Chopin in bars 1-3 and 5-6, despite being formally incorrect in the case of the ones featured in the 2nd half of each of these bars, seems to be completely clear and it was not questioned. However, in bars 3 and 6 the 2nd minim means sustaining e
