mUltimate Chopin

Op. 28 No. 4, Prelude in E minor

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b. 12

composition: Op. 28 No. 4, Prelude in E minor

Crotchet f1 in As

Quavers g1-f1 in remaining sources 
..

As contains an earlier version, in which both parts of the Prelude were slightly more distinctly separated.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 17

composition: Op. 28 No. 4, Prelude in E minor

B in As

B1-B in remaining sources
..

The version of As – a single bass note – was also present in A, in which Chopin crossed it out and replaced with an octave.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A , Accompaniment changes , Bass register changes

b. 17

composition: Op. 28 No. 4, Prelude in E minor

..

Initially, the 5th quaver of the bar in As was a f2, which offered a more schematic melodic sequence – counting from the beginning of b. 17, the melody consisted of 3 analogously structured four-note motifs.

category imprint: Corrections & alterations; Source & stylistic information

issues: Main-line changes

b. 17

composition: Op. 28 No. 4, Prelude in E minor

No a1 in chords in As

Three a1 in A (→FC→GE, →FE→EE) & CGS
..

As in the case of enhancement of the 1st quaver of the bar with an octave, the version of As was also present in A, in which, however, Chopin changed it by adding three a1 as the topmost notes. The change was introduced after the slur over the chords had been written, hence most probably in the last stage of proofreading of the manuscript.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Accompaniment changes

b. 18-19

composition: Op. 28 No. 4, Prelude in E minor

Version in As

Rhythm in A (→FE→EE)

Rhythm in FC (→GE)

Rhythm in FED
..

In an earlier version of As, two versions of the ending of these bars – one- and two-note – were presented in reverse order. The crossings-out visible in As suggest that Chopin initially wrote there more complex figures, comprising three or even four notes. The rhythmic variants at the end of b. 19 – see the note on b. 11 and 19.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Main-line changes