Issues : Deletions in A
|
b. 3-4
|
composition: Op. 28 No. 24, Prelude in D minor
..
In the first part of both bars, one can see crossings-out in the R.H. part in A. In b. 3 the correction most probably concerned rhythm – it seems that Chopin started writing the first two notes as a dotted quaver and a semiquaver. The crossings-out in the 1st half of b. 4 could have concerned two rests (a crotchet rest and a quaver one). It would mean that the dotted d1 crotchet and the tie that reaches it were added later. Traces of such minor rhythmic changes can also be seen later on, see, e.g. b. 5 and 8. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
|
|
b. 3
|
composition: Op. 28 No. 23, Prelude in F major
..
The crossings-out and additions visible in A reveal that Chopin initially provided each of the half-bar figures – in the right and left hands – with a separate slur. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
|
|
b. 3
|
composition: Op. 28 No. 21, Prelude in B♭ major
..
In A one can see a crossing-out between the category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
|
|
b. 3-4
|
composition: Op. 28 No. 16, Prelude in B♭ minor
..
In A one can see that three accidentals were crossed out; it seems that Chopin wrote them "just in case." Afterwards, it turned out that they were superfluous – the category imprint: Source & stylistic information issues: Cautionary accidentals , Deletions in A |
|
|
b. 4
|
composition: Op. 28 No. 23, Prelude in F major
..
The crossed-out g2 note before the final a2 note, which can be seen in A, and the e2 note, added clearly later, prove that the last 3 semiquavers in the bar were initially f2-g2-a2. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
and the 3rd quaver. It was most probably the 
before a that was removed (superfluous), yet it seems that, for some reason, Chopin also crossed out the correctly written f
-a third, which he then reintroduced next to it. If it was so, the reason could have been, e.g. accidentally blurred noteheads, even partially, as a side effect of removing the natural.
3 and g