Issues : Main-line changes
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 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. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 4
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composition: Op. 28 No. 23, Prelude in F major
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The crossed-out g2 note before the final a2 note, which can be seen in A, and the e2 note, added clearly later, prove that the last 3 semiquavers in the bar were initially f2-g2-a2. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
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b. 19-22
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composition: Op. 28 No. 23, Prelude in F major
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The extensive crossings-out in A – the entire ending of the piece starting from b. 19 was eventually crossed out and had to be rewritten – reveal that Chopin was looking for the best way to transfer the figuration from the topmost register back to the middle range of the instrument.
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes , Main-line changes |