Issues : Corrections in A
|
b. 5
|
composition: WN 37, Lento con gran espressione
..
In A1 one can see that the 6th quaver was initially an f category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Accompaniment changes |
|
|
b. 5-6
|
composition: Op. 28 No. 24, Prelude in D minor
..
The crossings-out visible in A allowed us to decipher the initial rhythm of b. 5: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
|
|
b. 5
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
In A the penultimate quaver in the bar was initially a d category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
|
|
b. 5-7
|
composition: Op. 28 No. 18, Prelude in F minor
..
In A one can see that in b. 5 Chopin initially wanted to lead the L.H. semiquaver sequence to the middle of the bar. He also introduced a similar change into b. 7, in which he started writing L.H. semiquavers from the beginning of the bar. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
|
|
b. 6
|
composition: Op. 24 No. 4, Mazurka in B♭ minor
..
Visible in A is an erased repeat sign marking bar 6 as opening a section to be repeated. category imprint: Source & stylistic information issues: Corrections in A |
, like in b. 13 and 46.
. According to us, it is likely that it was also the last a1 note in b. 6 that was initially a quaver – it is indicated by a denser notation, which points to a semiquaver rest having been possibly added, as well as by the difference in the shape of the flags next to that note, which would suggest that they were entered at different times.
1-f1 third, like in b. 1. The same applies to b. 24.