mUltimate Chopin

Op. 28 No. 3, Prelude in G major

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Rhythm

b. 3-15

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

Rhythm without rests in FCI

Rhythm with rests in A (→FC→GE, →FE→EE)
..

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.
An analogous change of notation is also to be found in b. 11.

category imprint: Differences between sources; Corrections & alterations

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

b. 7-10

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

Rhythm & slurs in FCI

Rhythm & slurs in A

Rhythm & slur in bar 7-8 in FC (→GE)

Rhythm & continuous slur in FE (→EE)
..

The rhythm written down in FCI in b. 7 and 9 is most probably the first version. It is evidenced by corrections stemming from that same version, visible in A in b. 9. Therefore, one can conclude that FCI contains an earlier version also in b. 8 and 10 and generally later in the Prelude (b. 16-25).
In FC (→GE) a slur is present only in b. 7-8; the missing one in b. 9-10 is an oversight of the copyist. The four-bar slur of FE (→EE) is also a mistake – the engraver could have been confused by the slur of the crossed-out L.H. part written down on the top stave in b. 8.
There is no arpeggio sign in b. 8 in EE1 – the mistake was corrected in EE2.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 9

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

..

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

b. 11

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

No rest in FCI

Rest in A (→FC→GE, →FE→EE)
..

As was the case in b. 3-6, the version of FCI – almost certainly earlier – does not separate the final c2-d2 second with a rest. Cf. also b. 7-10.

category imprint: Differences between sources; Corrections & alterations

b. 16-25

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

Rhythm in FCI

Rhythm in A →FC→GE, →FE→EE)
..

As was the case in b. 7 and 9, milder rhythms in the R.H. top voice can be observed in FCI in b. 16 and 20-21 (the last note is a quaver and not a semiquaver) as well as in b. 23 and 25 (the last note is a crotchet). A slightly different rhythm can also be seen in the 1st half of b. 17 – instead of a semiquaver accompanied by grace notes, FCI features a semiquaver triplet. They are almost certainly initial versions.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes