Issues : Accompaniment changes
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b. 3
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composition: Op. 28 No. 4, Prelude in E minor
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One can see traces of changing the pitch of the bottom note in the last pair of chords in As. On the basis of the photocopy at our disposal, however, it seems impossible to determine whether f was changed to e or the other way round. We assume that Chopin changed his mind only once and that it is the text of As after corrections that is compliant with the final version. category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
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b. 17
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composition: Op. 28 No. 4, Prelude in E minor
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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 |
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b. 17
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composition: Op. 28 No. 4, Prelude in E minor
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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 |
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b. 20-21
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composition: Op. 28 No. 4, Prelude in E minor
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On the basis of the available photograph of As, it is impossible to interpret the L.H. part in the 1st half of b. 21. Chopin changed the text in the entire bar as well as at the end of b. 20; initially, that fragment most probably looked like that: category imprint: Corrections & alterations; Source & stylistic information issues: Accompaniment changes |
(like most similar situations, it is only the 1st chord of each four that includes all noteheads). In b. 20 the top notes of the last two chords were then changed to a, whereas in b. 21 Chopin crossed out the e note in the 1st group and two last quavers in each group; in addition, at the beginning of the bar he added a new 1st half of the bar. On the photograph, the only thing to be seen there is a blot, yet its general outline seems to confirm the natural assumption that it is a very condensed, abridged notation of the final version, i.e. repeated c-g fifth. The text of this half of the bar is highly hypothetical, hence we put it in square brackets.