mUltimate Chopin

Op. 28 No. 16, Prelude in B♭ minor

Text Compare Notes Sources Description

Issues : Corrections in A

b. 22

composition: Op. 28 No. 16, Prelude in B♭ minor

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In A there was initially a  before the 5th semiquaver, which, together with the  before the 7th note, would result in the following sequence, in which the 5th, 8th and 10th notes would be c2: .
In the next bar, when the subsequent seven semiquavers (counting from g1) are repeated an octave higher, there are no traces of changes – the final version was entered straight away.

category imprint: Corrections & alterations; Source & stylistic information

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

b. 27

composition: Op. 28 No. 16, Prelude in B♭ minor

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In A one can see a crossed-out  at the pitch of A before the G quaver. It means that, according to us, Chopin wanted to write that note as A at first.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Enharmonic corrections

b. 28-29

composition: Op. 28 No. 16, Prelude in B♭ minor

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In A stretto was initially written over a bar earlier – the indication was placed over the 4th beat of b. 28 and the 1st beat of b. 29. Chopin then crossed it out together with the dashes marking its range (falling on b. 29) and rewrote it in b. 30.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 29

composition: Op. 28 No. 16, Prelude in B♭ minor

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The crossings-out and corrections of A allow us to reconstruct the initial version of the figuration in the 2nd half of the bar (analogous to b. 26): .

category imprint: Corrections & alterations; Source & stylistic information

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

b. 45

composition: Op. 28 No. 16, Prelude in B♭ minor

 after chord in A (→FE→EE)

under chord in FC (→GE)
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The  asterisk is written in A clearly after the crotchet on the 4th beat of the bar, which seems to be a deliberate decision, since Chopin initially wrote it under the quaver ending the passage. In FC it is so close to the F-f octave that it seems that it is placed under it, which was reproduced as such in GE.

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

issues: Corrections in A , Deletions in A , Inaccuracies in FC