Issues : Corrections 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:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
|
|
b. 8
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
A bears the traces of correcting the fifth and the sixth semiquaver of the left hand from e flat1-g flat to d flat1-e flat. category imprint: Corrections & alterations issues: Corrections in A , Accompaniment changes |
|
|
b. 8-11
|
composition: Op. 28 No. 3, Prelude in G major
..
In b. 8, 10 and 11, one can see in A crossings-out in the L.H. part, which was initially written an octave higher. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
|
|
b. 8
|
composition: Op. 28 No. 8, Prelude in F♯ minor
..
In A before the 2nd demisemiquaver in the 3rd group, one can see a crossing-out, most probably of a category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , Deletions in A |
|
|
b. 8
|
composition: Op. 28 No. 24, Prelude in D minor
..
One can see a crossed-out semiquaver rest between the last two R.H. notes in A. Chopin performed the same correction in analogous b. 26, which confirms that it was only just at the stage of writing A that Chopin forwent the division of this motif into two parts. See also b. 46. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
;
lowering it to c
3. It would confirm that Chopin was convinced that accidentals before the 2nd and 8th demisemiquavers in each group are not necessary, since their pitch is determined by the preceding note, placed an octave lower. Similarly in the Prelude in E