mUltimate Chopin

Text Compare Notes Sources Description

Issues : Main-line changes

b. 13-14

composition: Op. 28 No. 24, Prelude in D minor

..

In A one can see a crossed-out tie holding the c1 minim to the beginning of the roulade in the next bar. Chopin introduced similar corrections in both analogous places, i.e. b. 18 and 31-32.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 14

composition: Op. 2, Variations, complete

d3-f3-g3-a3 in AsI

g3-g3-a3-a3 in A (→GE→FE,EE,FESB)
..

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 15

composition: Op. 2, Variations, complete

One group of notes in AsI

Triplets & quintuplet in A (→GE→FE,EE,FESB)
..

The division of the figuration is an evident improvement of notation, since it corresponds to the rhythmically well-determined melodic and harmonic structure of the figuration. According to us, the change of slurring introduced in the last stage of shaping the note image of this bar explains why Chopin initially wrote down this bar as one group – he did not want to indicate rhythmic divisions, since the divisions of motifs fall on other places.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 15

composition: Op. 2, Variations, complete

d2 in AsI

d2 in A (→GE→FE,EE,FESB)
..

Taking into account the three previous similar phrases in this bar and d2 in AsI, one could assume an oversight of a  in A. However, it seems more likely that Chopin consciously changed the pitch of this note:

  • Chopin would often omit accidentals to notes belonging to the current key; however, he would rarely overlook an accidental supposed to define the alteration (only a few times in his entire oeuvre);
  • Chopin did not correct the possible mistake while proofreading FE, despite the fact that he changed slurs in this very bar.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 16-25

composition: Op. 28 No. 3, Prelude in G major

Rhythm in FCI

Rhythm in A →FC→GE, →FE→EE)
..

As was the case in b. 7 and 9, milder rhythms in the R.H. top voice can be observed in FCI in b. 16 and 20-21 (the last note is a quaver and not a semiquaver) as well as in b. 23 and 25 (the last note is a crotchet). A slightly different rhythm can also be seen in the 1st half of b. 17 – instead of a semiquaver accompanied by grace notes, FCI features a semiquaver triplet. They are almost certainly initial versions.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes