mUltimate Chopin

Op. 28 No. 2, Prelude in A minor

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b. 1-3

composition: Op. 28 No. 2, Prelude in A minor

Arrangement of voices in As & A (→FC→GE)

Part arrangement in CGS

L.H. part arrangement in FE (→EE)
..

The two-part notation of the L.H. part, in which the recurring B-A-B-G motif is isolated, was already introduced in As and kept in A (→FC→GE). Unlike in As, in which all 3 bars are written like that (with the use of abbreviations), in the version prepared for print Chopin wrote only the first 2 bars like that; they must be regarded as a pattern for the next ones, already written down in a simplified manner. The adoption of that simplified notation in FE (→EE) already in b. 1-2 was almost certainly an arbitrary decision of the engraver, who, not having observed a possibility to apply the beaming used in GE and in our text (essentially tantamount to the Chopinesque notation), considered the authentic notation to be impossible to reproduce in print. The notation adopted in CGS indicates that the top voice on the bottom stave should be performed with the R.H., which is more convenient, particularly for smaller and less skillful hands. The authenticity of that notation is not confirmed; however, it seems likely – see the characterization of CGS.

category imprint: Differences between sources; Corrections & alterations

issues: FE revisions

b. 1

composition: Op. 28 No. 2, Prelude in A minor

in A (→FE,FC→GE)

in EE
..

Nothing indicates that the change of metre introduced in EE could be authentic.

category imprint: Differences between sources

issues: EE revisions , 4/4 or 2/2

b. 3-19

composition: Op. 28 No. 2, Prelude in A minor

One-voice notation in A (→FC→GE, →FE→EE)

Two-voice notation in CGS
..

Just like in b. 1-3, later in the Prelude, CGS consistently stuck to a different division into parts, indicating the R.H. to perform the topmost notes on the bottom stave. The only exception are b. 6-7, in which the smaller span of figuration makes it possible to be performed entirely by the L.H. 

category imprint: Differences between sources

b. 10

composition: Op. 28 No. 2, Prelude in A minor

..

The correction visible in As allows us to decipher the initial rhythm of the 2nd and 3rd R.H. notes – they were two semiquavers.

category imprint: Corrections & alterations; Source & stylistic information

b. 12-13

composition: Op. 28 No. 2, Prelude in A minor

..

In As one can see crossings-out in the R.H. part. In b. 12 the tied f1 note was probably a semibreve at first, inserted – in accordance with the Chopinesque practice – more or less in the middle of the bar. Chopin then added a minim stem to the note and a rest later in the bar; eventually, he moved the minim to the beginning of the bar.
B. 13 was initially filled with an a1 semibreve, which Chopin then crossed out; however, he did not insert a rest instead of it.

category imprint: Corrections & alterations; Source & stylistic information