Issues : Corrections in A
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b. 15
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composition: Op. 28 No. 22, Prelude in G minor
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The slur in A, which initially reached the 5th quaver in the bar, was shortened by Chopin by one quaver. That correction was not taken into account both by Fontana and the engraver of FE – in FC and FE the slur encompasses the entire bar. category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in FE , Corrections in A , Inaccuracies in FC |
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b. 23-24
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composition: Op. 28 No. 22, Prelude in G minor
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The crossings-out and corrections visible in A reveal that Chopin initially wrote 4 bass octaves as dotted crotchets. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 28-38
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composition: Op. 28 No. 22, Prelude in G minor
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It is unclear what made Fontana start writing più animato as early as in b. 28, hence 2 bars earlier than in A, or why the indication was not included in GE. Moreover, Fontana overlooked the dashes marking the range of the indication. In FE1 the dashes were led only to the end of b. 33, the last in the line, which was corrected in FE2 (→EE). Chopin precisely determined that the more animated fragment should end in b. 38 – in A the dash written in b. 39 was crossed out. Chopin also crossed out sempre before più animato. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Inaccuracies in FE , Corrections in A , Errors in GE , Deletions in A , FE revisions , Errors of FC |
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b. 37
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composition: Op. 28 No. 22, Prelude in G minor
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In A this bar is added on a stave below; the place in which it should be inserted is also marked. The addition of the bar could have been related to the changes of the rhythmic values of the final cadence, which was initially a bar longer. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Fontana's revisions |
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b. 40
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composition: Op. 28 No. 22, Prelude in G minor
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The crossings-out visible in A reveal that the chords in b. 40 were initially written as dotted minims. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
