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Issues : Corrections in A
b. 1
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composition: Op. 25 No 8, Etude in D♭ major
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In A the bottom note of the 4th quaver was corrected by Chopin from g category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Errors resulting from corrections , Accompaniment changes |
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b. 1-2
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composition: Op. 64 No 2, Waltz in C♯ minor
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In As and AI the bass notes in bars 1-2 are written an octave higher than in the version prepared for print (in A one can see traces of corrections from c category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Accompaniment changes , Bass register changes |
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b. 1
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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AI is devoid of tempo markings. Generally, there are barely 3 verbal indications in the entire AI: The crossings-out visible in AF over the beginning of the piece prove that Chopin was looking for the best indication of its tempo and character, just like in both previous Mazurkas. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Deletions in A |
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b. 1-24
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composition: Op. 28 No. 4, Prelude in E minor
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As is devoid of the tempo indication and all further performance indications, which is related to the fact that this manuscript remained unfinished. Therefore, we do not regard those shortcomings as variants and – if an indication is present in the remaining sources – we do not record it in separate notes. In A one can see a crossing-out of an earlier indication, most probably Lento. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 1
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composition: Op. 28 No. 5, Prelude in D major
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Under the crossing-out in A, one can see that the initial tempo marking was Vivace. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |