mUltimate Chopin

Op. 28 No. 3, Prelude in G major

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b. 18-21

composition: Op. 28 No. 3, Prelude in G major

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In FCI there is no  lowering f to f in b. 18; it is also absent in b. 19-22, in which the L.H. part is marked as a repetition of b. 18. Chopin's patent oversight is evidenced by the cautionary  before f in b. 23. This situation affects the evaluation of the notation of b. 16-17 – it is also there that we are almost certainly dealing with an oversight of naturals (in the R.H.).
See also b. 22.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals

b. 21-25

composition: Op. 28 No. 3, Prelude in G major

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In b. 21 and 23-25 one can see crossings-out and corrections in A, which prove that Chopin committed mistakes at the time of writing similar bars of the L.H. figuration:

  • Chopin wrote b as the 8th note in b. 21, which he right away corrected to a;
  • the range of a similar mistake in b. 23 was already bigger – starting from the 8th note, Chopin wrote the version of b. 24 until at least the 12th note;
  • in b. 24 the last note was initially written as G (version of the previous bar);
  • in b. 25 the entire 1st half of the bar was written in the version of b. 24, which forced Chopin to cross out the 3rd note in the bar, add a new 4th note and to correct the pitch of 3 notes in the 2nd group of semiquavers.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 22

composition: Op. 28 No. 3, Prelude in G major

f in FCI

f in A (→FC→GE, →FE→EE)
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The version of FCI, in which the subdominant nature of the C major chord is signalized – by the f note in the L.H. figuration, pointing to the key of G major – only just in b. 23, is most probably earlier.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes