Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
(Op. 4), Sonata in C minor
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.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A
notation: Pitch