mUltimate Chopin

Op. 28 No. 23, Prelude in F major

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b. 16

composition: Op. 28 No. 23, Prelude in F major

f2 in A

No f2 in FC (→GE1)

f2 in FE (→EE) & GE2 (→GE3)
..

The missing f2 crotchet in FC (→GE1) may be a result of an unfinished or failed correction of the pitch of that note – in the place where the stem of the chord ends, e2 was probably removed. Another possibility is a misrepresenting its notehead in A for a mere thickening at the end of stem. The copyist also omitted the arpeggio sign before that chord and the slur. The revision restoring a tolerably correct text in GE2 (→GE3) was most probably based on FE, which is indicated by an identical unification of the rhythmic values of the g1-b1 third (in FE the unification most probably resulted from a misunderstanding of the notation of A) and by the way the misleading notation in the previous bar was corrected.

category imprint: Differences between sources

issues: Different values of chord components , Inaccuracies in FE , GE revisions , Errors of FC

b. 16

composition: Op. 28 No. 23, Prelude in F major

..

There is no arpeggio sign in FC (→GE1) which is probably a result of the copyist's distraction, like the missing f2 crotchet – see the note above. The sign (along with the note) was added in GE2 (→GE3), most probably after FE.

category imprint: Differences between sources

issues: GE revisions , Errors of FC

b. 16

composition: Op. 28 No. 23, Prelude in F major

Slur in A (→FE→EE) & GE2 (→GE3)

No slur in FC (→GE1)
..

The missing slur in FC (→GE1) must be the copyist's oversight. The mark was added in GE2 (→GE3), most probably after FE – see the adjacent note.

category imprint: Differences between sources

issues: GE revisions , Errors of FC

b. 16

composition: Op. 28 No. 23, Prelude in F major

..

category imprint: Differences between sources

issues: Errors in FE , GE revisions

b. 17-18

composition: Op. 28 No. 23, Prelude in F major

..

In A one can decipher the crossed-out, earlier version of the L.H. part, which was written an octave higher, hence these bars were an exact transposition of b. 9-10. At the same time, we can see that it was b. 18 that was changed first, since Chopin initially put a bass clef at the end of b. 17, which must have still been written in the treble clef. The corrections in the next bars reveal that the changes were a final stage of a broader transformation process of the entire ending of the Prelude. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A