Issues : Main-line changes
b. 1
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composition: Op. 28 No. 4, Prelude in E minor
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In As one can see that the upbeat was added later. category imprint: Corrections & alterations; Source & stylistic information issues: Main-line changes , Changed phrase length |
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b. 10-11
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composition: Op. 28 No. 4, Prelude in E minor
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The version of As, replaced then by the final edition of those motifs, resulted from corrections itself. Their traces in the form of crossings-out are almost invisible on the available photograph; however, a comparison with similarly looking corrections in b. 18-19 suggests that in both places Chopin began with similar ideas and then changed them in a similar manner. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Main-line changes , Fontana's revisions |
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b. 12
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composition: Op. 28 No. 4, Prelude in E minor
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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 |
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b. 17
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composition: Op. 28 No. 4, Prelude in E minor
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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 |
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b. 18-19
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composition: Op. 28 No. 4, Prelude in E minor
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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 |