Issues : Main-line changes
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b. 74-77
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composition: Op. 28 No. 24, Prelude in D minor
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The initial version of the ending of the Prelude (which can be deciphered from under the crossings-out in A) differed quite significantly from the final one – the passage reached only D, and the piece ended an octave higher: The next version may have looked like the one presented below: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 75
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composition: Op. 10 No 1, Etude in C major
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The first note of the 2nd group of semiquavers in CLI is b1, similarly as in the 4th group there is a b3. The head of the note opening the 3rd group is illegible, but both the length of the stem and the figuration's logic indicate on b2 as the intended pitch of the note. In the main text we give the undoubtedly improved version of FE (→GE,EE). category imprint: Interpretations within context; Differences between sources issues: Main-line changes |
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b. 75
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composition: Op. 23, Ballade in G minor
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The way the notes are arranged in A indicates that a correction was made – two quavers and a triplet beam were added. Initially, there was probably only one note there, i.e. c2 (crotchet). category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Main-line changes |
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b. 76
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composition: Op. 21, Concerto in F minor, Mvt III
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Same as in the previous phrase, Chopin moved the 2nd crotchet in the part of both hands an octave lower while proofreading FE (→EE). The given variants include the presence or absence of the staccato dot overlooked in GE1 (→FE→EE), together with three previous ones. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes |
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b. 77-80
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composition: Op. 64 No 2, Waltz in C♯ minor
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The version of As undoubtedly gives way to both later ones, which, actually, differ only in two elements – the rhythm of the melody in bar 77 and the number of touches in the part of the L.H. in bar 79. The same as in bar 71, the change of rhythm in bar 77 could have been introduced in A as a correction of the earlier rhythm of the crotchets. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Main-line changes |
. In that version, it is noteworthy that the passage contains e3, e2, e and E, but not e1.
. Eventually, Chopin forwent all the aforementioned e notes (he only left E1, which was added later) and added B
1, thus providing the general part of the passage with a homogeneous course, based on the b
