mUltimate Chopin

Op. 28 No. 3, Prelude in G major

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Rhythm

b. 16-17

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

b1 tied in FCI

h1 repeated in A (→FC→GE, →FE→EE)
..

We consider the tie of b1 in FCI to be the initial version, just like the remaining elements that distinguish this copy from the version prepared for print – cf., e.g. b. 7-10 or 24.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 17

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

Rhythm in #CFI & A (→FE→EE), & also FC (source interpretation)

Rhythm in FC (contextual interpretation→GE)
..

In FC the rhythm in the 2nd half of the bar was written down as , which is a mistake. In GE it was changed to , which is understandable if we take into account the rhythm in the remaining similar situations. However, the reviser did not respect the position of that d2 in relation to the L.H. semiquavers – it is written right above the penultimate semiquaver, which suggests that it is the semiquaver flag that is a mistake, and not the missing second dot prolonging the e2 crotchet.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of FC

b. 24

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

Semibreve a in FCI

Crotchet a in A (→FC→GE, →FE→EE)
..

The a note cannot be held throughout the entire bar due to the L.H. part. The fact that it was not included in FCI undoubtedly proves that the notation of this manuscript was less detailed and most probably earlier.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 25

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

..

In FCI c1 and d1 are dotted minims. It is probably an earlier version, although we cannot rule out an erroneous unification of the chord's rhythmic values by the copyist. See b. 16-25.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 33

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

Pause over R.H. in A (→FC→GE)

Two pauses in FE (→EE)
..

In the main text we include the revision of FE (→EE), since the chords of both hands are certainly supposed to last equally long. The missing fermata in FCI, unless it is an oversight of the copyist, probably proves that this detail was not fully developed in the autograph on which the copy was based.

See the Prelude No. 1 in C Major, b. 34. 

category imprint: Differences between sources

issues: FE revisions