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Issues : Deletions in A
b. 2-3
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composition: Op. 28 No. 16, Prelude in B♭ minor
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In A one can see crossed-out pedalling markings, according to which the pedal should be changed every half bar – 3 times category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 3
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composition: Op. 29, Impromptu in A♭ major
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In A one can see a deleted category imprint: Corrections & alterations issues: Deletions in A |
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b. 3
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composition: Op. 25 No 1, Etude in A♭ major
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Chopin added the dynamic indication in this bar only at the time of preparing the Etude for print. Initially, he provided the f2 note with an accent (as in bar 2), yet eventually he chose a pair of category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , Deletions in A |
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b. 3
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composition: Op. 25 No 2, Etude in F minor
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Chopin hesitated whether to put cautionary flats before d category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Cautionary accidentals , Deletions in A , Last key signature sign |
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b. 3-15
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composition: Op. 28 No. 3, Prelude in G major
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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. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A , Main-line changes |