|
b. 12-14
|
composition: Op. 50 No. 3, Mazurka in C♯ minor
..
AI is devoid of L.H. slurs in these bars. category imprint: Differences between sources |
|||||
|
b. 12
|
composition: Op. 28 No. 1, Prelude in C major
..
In GE the middle note of the 2nd triplet is an erroneous d1. It is a consequence of the note having been inaccurately placed – too low – in FC. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FC , Errors repeated in GE |
|||||
|
b. 12-13
|
composition: Op. 28 No. 2, Prelude in A minor
..
In As one can see crossings-out in the R.H. part. In b. 12 the tied f category imprint: Corrections & alterations; Source & stylistic information |
|||||
|
b. 12
|
composition: Op. 28 No. 2, Prelude in A minor
..
The notation of As reveals that Chopin initially envisaged c1 as the topmost note already in the 1st half of the bar – the repeat sign, placed after the written-out group of 4 quavers (featuring c1), was crossed out and inserted in front of it; moreover, Chopin added a new bar line before the crossed-out mark (however, the old bar line was not crossed out, as a result of which the space between them creates an impression of an additional bar). category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
|||||
|
b. 12
|
composition: Op. 28 No. 3, Prelude in G major
..
In the final version the slur of FCI lost its sense due to the individual elements of the phrase having been separated with rests. category imprint: Differences between sources; Corrections & alterations |
1 note was probably a semibreve at first, inserted – in accordance with the Chopinesque practice – more or less in the middle of the bar. Chopin then added a minim stem to the note and a rest later in the bar; eventually, he moved the minim to the beginning of the bar.
