Issues : Corrections in A
b. 3-15
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composition: Op. 28 No. 3, Prelude in G major
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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. category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Deletions in A , Main-line changes |
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b. 8-11
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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 |
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b. 9
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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:
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 |
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b. 21-25
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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:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |