Issues : Main-line changes
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b. 16-25
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composition: Op. 28 No. 3, Prelude in G major
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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 |
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b. 16-17
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composition: Op. 28 No. 18, Prelude in F minor
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In A entire b. 16 and the 1st R.H. quaver in b. 17 were first written in an earlier version: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 17
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composition: Op. 28 No. 4, Prelude in E minor
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Initially, the 5th quaver of the bar in As was a f category imprint: Corrections & alterations; Source & stylistic information issues: Main-line changes |
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b. 17
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composition: Op. 2, Variations, complete
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When preparing the Variations for print, Chopin smoothed out the rhythm of the RH. in the 1st half of the bar. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |
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b. 18-19
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composition: Op. 28 No. 4, Prelude in E minor
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In an earlier version of As, two versions of the ending of these bars – one- and two-note – were presented in reverse order. The crossings-out visible in As suggest that Chopin initially wrote there more complex figures, comprising three or even four notes. The rhythmic variants at the end of b. 19 – see the note on b. 11 and 19. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes |
. Chopin then crossed them out entirely and entered the final text, although not without hesitation (mistakes?) – in the later version the 6th R.H. quaver was initially written down in the original version (d
2-d
2, which offered a more schematic melodic sequence – counting from the beginning of b. 17, the melody consisted of 3 analogously structured four-note motifs.
