mUltimate Chopin

Op. 28 No. 3, Prelude in G major

Text Compare Notes Sources Description

Issues : Corrections in A

b. 3-15

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

Rhythm without rests in FCI

Rhythm with rests in A (→FC→GE, →FE→EE)
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As far as the time intervals between subsequent R.H. notes are concerned, the rhythm of the first phrase (b. 3-6 and 12-15) is no different in FCI from the one Chopin eventually sent to be published. The crossings-out visible in A in b. 3 confirm that the version without rests, preserved in FCI, is earlier. Thanks to the rests, the theme is more precisely articulated and more volatile at the same time. It is also reflected in the slurring – see b. 12.
An analogous change of notation is also to be found in b. 11.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A , Main-line changes

b. 8-11

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

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In b. 8, 10 and 11, one can see in A crossings-out in the L.H. part, which was initially written an octave higher. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 9

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

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Chopin most probably changed in A the rhythm of the R.H. top voice. Initially, the f2 minim was provided with two dots only, while e2 was a quaver, which was changed by an additional third dot next to the minim and an additional second flag to the quaver. It is indicated by:

  • the fact that the e2 semiquaver was placed exactly above the penultimate L.H. semiquaver;
  • the difference in the notation of the dots prolonging the f2 minim – the third one is placed higher than the previous ones and is smaller, which means that it was entered at a different time.

We observe an earlier version of rhythm in FCI both here and in b. 7. Could a similar correction take place in A also in that bar? It is difficult to say – the notation neither excludes nor confirms such a possibility.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A

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