mUltimate Chopin

Op. 28 No. 24, Prelude in D minor

Text Compare Notes Sources Description

Issues : Deletions in A

b. 38

composition: Op. 28 No. 24, Prelude in D minor

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In A one can see that the last g1 note was initially a quaver. Chopin then replaced it with a semiquaver and added a rest before it. See also b. 40.

category imprint: Corrections & alterations; Source & stylistic information

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

b. 41-42

composition: Op. 28 No. 24, Prelude in D minor

    in A (→FE→EE) & contextual interpretation of FC 

   in GE
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Fontana omitted the  mark at the beginning of b. 41 in FC, leaving a lonely  asterisk at the end of b. 42. GE completed the pedalling; however, in the face of varied L.H. figures in these bars, a separate pedal was added in each of them. The crossing-out of the  mark at the end of b. 41, visible in A, proves that Chopin consciously combined them with pedal. Crossings-out of those marks in similar situations are also present at the end of b. 9, 20 and 54.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , GE revisions , Deletions in A , Errors of FC

b. 45

composition: Op. 28 No. 24, Prelude in D minor

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In A one can see that the bar initially included a different rhythm and articulation of the melody: .

category imprint: Corrections & alterations; Source & stylistic information

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

b. 46

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 also combined the slurs that initially encompassed three notes before the rest and the further part of the motif to the a1 crotchet.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 54

composition: Op. 28 No. 24, Prelude in D minor

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The crossing-out visible in A at the end of the bar probably concerned the  mark; Chopin started writing it, yet having realised that a pedal change was superfluous, he stopped and crossed it out. Crossings-out of those marks in similar situations are also to be found at the end of b. 9, 20 and 41.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A