mUltimate Chopin

Op. 28 No. 19, Prelude in E♭ major

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Issues : Deletions in A

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b. 43-44

composition: Op. 28 No. 19, Prelude in E♭ major

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These bars underwent numerous corrections in A. In b. 43 Chopin changed single notes – he moved the 2nd and 5th R.H. quavers a minor third higher (c2→e2 and c2→d2) as well as the 3rd, 6th and 9th L.H. quavers (e→g, f→a and g→b).
In b. 44 the 2nd and 5th R.H. quavers were also changed (a1→c2 and a1→b1), whereas the L.H. part and the 3rd R.H. triplet were completely crossed out after individual corrections and rewritten on adjacent staves. The below reconstruction shows a likely interpretation of the crossed-out version. The small noteheads in brackets indicate the notes that were effaced before the decision to rewrite the whole. The illustration is supplemented by the first 2 R.H. triplets that were not rewritten as a whole, with individual corrections marked in a similar manner: 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 70

composition: Op. 28 No. 19, Prelude in E♭ major

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The crossings-out in this bar show that Chopin was looking for the right way to end the Prelude. Among the crossed-out elements, one can distinguish:

  • arpeggios before the R.H. and L.H. chords,
  • e-b-e1 crotchet chord on the bottom stave (interpreted in the bass clef),
  • g-b third on the bottom stave (interpreted in the treble clef). Perhaps Chopin started writing the g-b-e1-g1 chord, yet decided to place it an octave higher.

See also the note in the next bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 71

composition: Op. 28 No. 19, Prelude in E♭ major

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The crossings-out in A allow us to partially decipher the initial notation of the final bar, in which we can see a removed grace note and a curved line: . However, if we were to take into account also the differences in the shape and shade of the noteheads, which indicate that the three minims in the chord were added later, the version could have looked as follows: . Cf. the ending of the Prelude No. 22 in G Minor.

category imprint: Corrections & alterations; Source & stylistic information

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