mUltimate Chopin

Op. 28 No. 19, Prelude in E♭ major

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Issues : Corrections in A

b. 1-8

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

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In A one can see crossed-out three-quaver slurs running from the 2nd quaver of each triplet to the 1st quaver of the next one. One can assume that the crossing-out was related to the legato indication added at the beginning of the Prelude. At the beginning of the Etude in A Major, Op. 10 No. 10, we can see an evolution of notation that was perhaps going in a similar direction; in that Etude, Chopin removed the initial accents while proofreading the French edition.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 18-20

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

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In b. 18 and 20 Chopin changed in A the last L.H. note from g to d. Similar situations are in analogous b. 26 and 28.

category imprint: Corrections & alterations; Source & stylistic information

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

b. 19

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

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The crossings-out visible in A show that Chopin initially wrote in this bar 3 pedals, one for each triplet.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 26-28

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

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As was the case in b. 18 and 20, Chopin changed in A the last L.H. note from g to d.

category imprint: Corrections & alterations; Source & stylistic information

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

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