mUltimate Chopin

Text Compare Notes Sources Description

Issues : Deletions in A

b. 6

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

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At the end of the bar, one can see a crossed-out  marking in A. Crossings-out of those markings in similar situations are also present at the end of b. 20, 41 and 54.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 6

composition: Op. 28 No. 21, Prelude in B♭ major

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The crossing-out in A reveals the initial version of the beginning of this bar: .

category imprint: Corrections & alterations; Source & stylistic information

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

b. 6

composition: Op. 28 No. 14, Prelude in E♭ minor

No accidentals (c-c1) in A (→FE,FC→GE1)

Naturals (c-c1) in EE

Flats (c-c1) in GE2 (→GE3)
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Before the R.H. penultimate quaver Chopin wrote in A a cautionary  which he crossed out after having checked it was not essential. This proves the intended pitch to be c-c1 here. Therefore, the EE version is arbitrary – the reviser repeated here his amendment from the previous bar where he added (rightly there) naturals rising c-c1 to c-c1. We add cautionary flats in the main text here as GE2 already has done.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in EE , GE revisions , Cautionary accidentals , Deletions in A

b. 7

composition: Op. 29, Impromptu in A♭ major

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At the beginning of the bar, in A one can see a deleted fragment of the R.H. part. The editors have not succeeded at deciphering the deleted text.

category imprint: Corrections & alterations

issues: Deletions in A

b. 7

composition: Op. 29, Impromptu in A♭ major

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Before the 6th quaver one can see a crossed out flat in A. Allegedly, at first Chopin wanted to write g2.

category imprint: Corrections & alterations

issues: Deletions in A , Enharmonic corrections