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b. 2-6
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composition: Op. 28 No. 23, Prelude in F major
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Thanks to the crossings-out and added notes in b. 2 and 6 visible in A, we can reconstruct the initial version of the last beat of these bars as category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 3-7
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composition: Op. 28 No. 23, Prelude in F major
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The fingering of EE in b. 3 does not come from Chopin; however, as is the case with a few other places, it may comply with the composer's fingering. An identical fingering was given in an analogous figure in b. 7. category imprint: Differences between sources issues: EE revisions |
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b. 3
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composition: Op. 28 No. 23, Prelude in F major
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The crossings-out and additions visible in A reveal that Chopin initially provided each of the half-bar figures – in the right and left hands – with a separate slur. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 4-5
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composition: Op. 28 No. 23, Prelude in F major
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In FC the line ends in b. 4, and the slurs, both at the end of b. 4 and at the beginning of b. 5, indicate that the slur should be continued. In A the slurs between the lines also suggest a continuous slur; however, in the case of A the line ends earlier, already in the middle of b. 4. This was most probably the reason for the copyist's confusion: he did not pay attention to the difference in the layout while writing the slurs. category imprint: Differences between sources issues: Errors of FC |
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b. 4
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composition: Op. 28 No. 23, Prelude in F major
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Nothing indicates that the fingering in EE could have come from Chopin. category imprint: Differences between sources issues: EE revisions |
and 
. The idea of changing it probably arose when Chopin was writing b. 6; afterwards, he introduced a respective correction in b. 2. It is proven by the notation of an analogous figure in b. 10, in which the final version was written right away, without corrections.
