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Issues : Deletions in A

b. 7

composition: Op. 25 No 1, Etude in A♭ major

 in AI, GE, FE & EE

Earlier  in A
..

The corrections of placing the  sign at the end of the bar, visible in A, do not prove, according to us, an intention of an earlier pedal release in this place. Chopin most probably wrote the sign already after the bar line (at the end of the line) and, in order to avoid misunderstandings, he wanted to place it precisely at the end of the bar, yet, as a result of deletions, an illegible inkblot was created. Considering the harmonic pedalling including the entire beats of the bar to be obvious, the composer wrote the necessary sign slightly earlier, at a safe distance from – probably fresh – stain. In GE, the sign was reproduced at the end of the bar and it is also AI, FE and EE that prove the correctness of this way of placement.

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A

b. 7-8

composition: Op. 25 No 1, Etude in A♭ major

AI

A (→CDP,GE), FE & EE
..

In AI in both bars the 3rd figure in the R.H. preserves the regular melodic shape, i.e. the last two notes of the sextuplet are the same as the second and third note. Chopin changed it in A (→GE), correcting the already written original version. The remaining sources also include the final version.

category imprint: Differences between sources; Corrections & alterations

issues: Deletions in A , Accompaniment changes

b. 7

composition: Op. 28 No. 8, Prelude in F♯ minor

..

In A one can see a crossed-out  before g2, the 5th demisemiquaver in the last group, which proves that Chopin verified the accuracy of accidentals.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A

b. 7

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

..

Chopin started crossing out and correcting the R.H. part; afterwards, he decided to rewrite the entire bar, on the staves above. The changes probably concerned two elements:

  • rhythm in the 1st half of the bar, which initially did not include a semiquaver rest – ;
  • notation of the grace notes, which were small semiquavers in the crossed-out version.

category imprint: Corrections & alterations; Source & stylistic information

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

b. 8-9

composition: Op. 29, Impromptu in A♭ major

..

Chopin changed the hairpins' concept in A: he deleted the crescendo hairpins in bar 9 and he prolonged the ones beginning in bar 8. Probably both changes were introduced at the same time: Chopin deleted the short hairpins in bar 9, planning to introduce a longer crescendo indication. In order to do that, he added an extension of the hairpins' arm from bar 8 or even the entire hairpins in two moves (the too short sign and extension).

category imprint: Graphic ambiguousness; Corrections & alterations

issues: Scope of dynamic hairpins , Deletions in A