Issues : Corrections in A
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b. 13
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composition: Op. 28 No. 1, Prelude in C major
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The correction visible in A – deletion of d as the 2nd semiquaver – shows the initial version of the chord constituting the harmonic basis of the bar. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 18-26
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composition: Op. 28 No. 1, Prelude in C major
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One can only guess what the motivation of the reviser of GE2 was at the time of arbitrarily changing the R.H. rhythm in all bars in which Chopin wrote quintuplets (b. 18-20, 23 and 25-26). After all, there are no doubts that the change, introduced many years after Chopin's death, does not come from the composer. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , GE revisions , Deletions in A |
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b. 23
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composition: Op. 28 No. 1, Prelude in C major
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Chopin deleted the category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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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 ( category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
asterisk in 
). 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.