Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
(Op. 4), Sonata in C minor
Op. 28 No. 17, Prelude in A♭ major
This bar is absent in FCI, which could be seen as one more example of haplography – cf. the versions of FC in the Prelude in G
minor no. 12, b. 78-79 or in B
major no. 21, b. 54. However, according to us, this version keeping a regular, two-bar gap also between the last strokes of the bass A1 (in FCI it is not repeated anymore in b. 88) suggests that this is the initial version, expanded later by Chopin:
- he added a stroke of the bass note in b. 88 while gradually reducing its frequency;
- he improved the combination of the main theme of the Prelude with the ending by repeating the motif twice as a calming factor, first to a two-bar section (b. 79-80 and 81-82) and then one-bar section (b. 82 and 83).
Compare the passage in the sources »
category imprint: Differences between sources; Corrections & alterations
issues: Changed phrase length
notation: Rhythm