b. 23
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composition: Op. 28 No. 1, Prelude in C major
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Chopin deleted the asterisk in A, written initially at the end of the bar (after the 6th semiquaver), and moved it more or less under the 5th semiquaver. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 26
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composition: Op. 28 No. 1, Prelude in C major category imprint: Differences between sources issues: GE revisions , Errors of FC |
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b. 29
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composition: Op. 28 No. 1, Prelude in C major category imprint: Differences between sources issues: Errors in GE , GE revisions |
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b. 29-32
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composition: Op. 28 No. 1, Prelude in C major
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The fact that the marks are placed earlier in these bars may be related to a slightly different structure of the figuration and the closing nature of music, and hence could have been intended by Chopin. Due to this reason, differently than in b. 13-14, we keep them in the main text, although, according to us, one cannot completely rule out imprecise notation also in this place. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE |
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b. 33
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composition: Op. 28 No. 1, Prelude in C major
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One can see a correction in A at the beginning of the bar – Chopin most probably deleted the crotchet e-g-c1-e1 chord and the fermata placed above it. According to us, it means that the final sustained passage was to be written as a common arpeggio (). Had Chopin wanted to both play this chord and perform the arpeggio, written in semiquavers, he would not have provided it with a fermata, which makes sense only in the last bar. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |