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Issues : Deletions in A

b. 1

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

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EE added a poorly justified cautionary  before a2, probably by analogy with b. 5. In A one can see that Chopin initially wrote that accidental, whereupon he considered it superfluous and crossed it out.

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

issues: EE revisions , Deletions in A

b. 1

composition: Op. 28 No. 9, Prelude in E major

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In A one can see a crossing-out proving that the time signature was changed from  to .

category imprint: Corrections & alterations; Source & stylistic information

issues: Changes of metre , Corrections in A , Deletions in A

b. 1

composition: Op. 28 No. 9, Prelude in E major

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The Prelude in E is the only piece by Chopin in which the R.H. part is written entirely in the bass clef on the top stave*. It is noteworthy that the composer opted for such a notation probably only just when writing A, which is evidenced by a bass clef added after the treble one and by the 1st R.H. chord, written and crossed out on the bottom stave. Therefore, one can assume that in the initial notation of the Prelude the entire R.H. part (perhaps without the topmost notes) was written on the bottom stave, in accordance with the Chopinesque common modus operandi – cf., e.g. Prelude in E Minor, No. 14 or Scherzo in C Minor, Op. 39, b. 1-6 and 9-14, 486-497 and 502-505. The above hypothesis is confirmed by the notation of the L.H. part – the stems of the entire part, even in the lowest register, point downwards (we do not keep it in our transcriptions). An understandable habit of beginning the top stave with a treble clef came out at the beginning of the 3rd and 4th lines of the text – in A one can see there crossings-out of fragments of treble clefs, with which Chopin wanted, as a matter of course, to open a new line.

* In general, Chopin carefully avoided introducing the bass clef on the upper staff. There are only a few examples of such notation, e.g. Variations in B, Op. 2, bars 50-51, 302-303, Polonaise in A, Op. 53, bars 153-154.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A

b. 1-8

composition: Op. 28 No. 19, Prelude in E♭ major

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In A one can see crossed-out three-quaver slurs running from the 2nd quaver of each triplet to the 1st quaver of the next one. One can assume that the crossing-out was related to the legato indication added at the beginning of the Prelude. At the beginning of the Etude in A Major, Op. 10 No. 10, we can see an evolution of notation that was perhaps going in a similar direction; in that Etude, Chopin removed the initial accents while proofreading the French edition.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 1

composition: Op. 28 No. 14, Prelude in E♭ minor

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Chopin initially wrote marcato instead of pesante in A.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A