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b. 3-10

composition: Op. 28 No. 2, Prelude in A minor

..

In As the notation of the L.H. part is incomplete from this moment on – in b. 4-7 and 8-10 the notation is totally or partially lacking:

  • At the beginning of b. 4 and 9, a single note of indefinite pitch is written (resembling a crotchet). It is most probably a B in b. 4 and an f [f] in b. 9, which probably indicates a certain form of continuation of the figuration defined in previous bars, perhaps similar to the one featured in those bars in the final version.
  • The empty 2nd half of b. 8 is almost certainly to be filled with a repetition of the 1st half, which results from the analogy to b. 3. Chopin did not write a repeat sign, since at this point of the Prelude a sequential repetition of the 1st phrase leaves no doubt as to the accompaniment.

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

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. 3-13

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

  in FCI

No signs in A (→FC→GE, →FE→EE)
..

In FCI the pair of   hairpins in b. 3-4 defines a detail that was not marked in the final editing of the piece. When this phrase is repeated, it is accompanied only by a long accent at the beginning of b. 13.

category imprint: Differences between sources

b. 3-12

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

2 short accents in FCI

Short accent in A, probable interpretation (→FC→GE, →FE→EE)

Long accent in A, possible interpretation
..

It is unclear whether the accent in A was supposed to be long or short, according to Chopin. Both FC (→GE) and FE (→EE) interpreted it as short; a short accent is also in FCI (as well as in b. 12). In the main text we also favour a short accent – both the acceleration of the tempo of the Prelude and the shortening of the rhythmic value of this note are an argument for a short, purely dynamic accent.
In FE (→EE) the accent was placed under the stave, which is a routine revision, frequently used by editors both in times of Chopin and nowadays. In this case, it does not influence the meaning of the sign; we do not include this detail in our transcriptions.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Placement of markings

b. 3-4

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

Slur from semiquaver in FCI & A (→FE→EE)

Slur from mid-bar in FC (→GE)
..

The longer slur of FC (→GE) resulted from a mistake of the copyist, most probably confused by the contour of a fragment of the slur written on the back of this page (over b. 22) blending into the slur of A. 

category imprint: Differences between sources

issues: Inaccurate slurs in A , Errors of FC