Pitch
b. 2-6
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composition: Op. 28 No. 23, Prelude in F major
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Thanks to the crossings-out and added notes in b. 2 and 6 visible in A, we can reconstruct the initial version of the last beat of these bars as and . The idea of changing it probably arose when Chopin was writing b. 6; afterwards, he introduced a respective correction in b. 2. It is proven by the notation of an analogous figure in b. 10, in which the final version was written right away, without corrections. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 4-5
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composition: Op. 28 No. 23, Prelude in F major
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We give Chopin's fingering written into FED in the main text. However, nothing indicates that the fingering in EE could have come from Chopin. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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b. 4
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composition: Op. 28 No. 23, Prelude in F major
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The crossed-out g2 note before the final a2 note, which can be seen in A, and the e2 note, added clearly later, prove that the last 3 semiquavers in the bar were initially f2-g2-a2. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 10
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composition: Op. 28 No. 23, Prelude in F major
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EE repeats a before b in the trill's ending, most probably by mistake. category imprint: Differences between sources issues: EE revisions , EE inaccuracies |
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b. 13
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composition: Op. 28 No. 23, Prelude in F major
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The version of GE resulted from an erroneous interpretation of the illegible correction concerning the pitch of this note in FC – the copyist most probably first wrote g1 and then turned it into f1, as a result of which both the 2nd line and the 1st space are covered. A correction (crossing-out) is also visible in A, in which, however, it almost certainly concerned rhythm – Chopin pondered whether to write the discussed note as a minim. The pencilled correction of the wrong clef (bass) visible in FC at the beginning of the bar – it opens the line in this manuscript – as well as a possible crossing-out of one of the notes (rather the bottom one, hence f1) on the 2nd L.H. quaver were performed by a later owner of FC, i.e. Hermann Scholtz. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , Foreign hand additions in manuscripts , Deletions in A , Inaccuracies in FC , Alterations in CF |