Issues : Corrections in A
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b. 1
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composition: Op. 28 No. 6, Prelude in B minor
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In A one can see that the initial tempo marking was Largo. Cf. changes of markings in adjacent Preludes. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 2-18
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composition: Op. 28 No. 6, Prelude in B minor
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Initially, Chopin marked the two-quaver motifs with an accent and a slur – as he did in b. 1 – also in b. 2-6, 11-16 and 18. All those markings were then crossed out – after the three accent/slur combinations in b. 1, Chopin left only one more at the end of b. 22, which, actually, gave it a special meaning. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 16-17
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composition: Op. 28 No. 6, Prelude in B minor
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In A, due to numerous corrections/crossings-out, the final version of the R.H. part is written in these bars on an adjacent stave, where one can also observe crossings-out. The majority of the crossed-out notation can be read; particularly, one can state that none of the corrections concerned the top voice, and in many places one of the crossed-out versions was identical to the ultimate one. It proves Chopin's hesitation. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |