Issues : Corrections in A
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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
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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
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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. 13
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composition: Op. 28 No. 23, Prelude in F major
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The version of GE resulted from an erroneous interpretation of the illegible correction concerning the pitch of this note in FC – the copyist most probably first wrote g1 and then turned it into f1, as a result of which both the 2nd line and the 1st space are covered. A correction (crossing-out) is also visible in A, in which, however, it almost certainly concerned rhythm – Chopin pondered whether to write the discussed note as a minim. The pencilled correction of the wrong clef (bass) visible in FC at the beginning of the bar – it opens the line in this manuscript – as well as a possible crossing-out of one of the notes (rather the bottom one, hence f1) on the 2nd L.H. quaver were performed by a later owner of FC, i.e. Hermann Scholtz. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , Foreign hand additions in manuscripts , Deletions in A , Inaccuracies in FC , Alterations in CF |
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b. 17-18
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composition: Op. 28 No. 23, Prelude in F major
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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 |
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.
