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.
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category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A
notation: Pitch