Op. 28 No. 12, Prelude in G♯ minor

 b. 24

	c1 in sources
	c1, our alternative suggestion

According to us, there are indications that the  lowering c¹ to c¹ in A was not inserted on purpose. Below, you can find a reconstruction – based on the analysis of the layout and visible corrections – of the three-stage process of writing down b. 23-26 in A:

1. Stage 1: 
   This is probably the initial notation, as evidenced by the gaps between the notes – in b. 24 there was no space left for the accidentals before the 2nd and 4th quavers, while in b. 25 such space was granted both for the  lowering c¹ to c¹ and the  raising d¹ to d¹. This version seems to be a natural starting point due to a regular succession of keys, which, in b. 21-28, occur in two-bar sections – B minor, A major, A minor, G major. Another advantage of that version is also the Chopinesque manner of changing the mode (from A major to A minor) by repeating an almost identical figure, which can be seen, e.g. in b. 19-20, where the key goes from B major to B minor. Moreover, the adoption of c¹ in the discussed bar allows us to justify (with convenient fingering) the unique rhythmic value of the a¹ crotchet – in all analogous places (in b. 21-22, 25-26 and b. 28, which ends a four-bar section), the top voice is dominated by minims.
2. Stage 2:
   The existence of this stage directly results from what has been said about the gaps between the notes in b. 24 and from the existence of a  under the  before the 4th quaver in that bar (the  was written earlier). It can be seen that Chopin, although he had not planned it before, made b. 24 look like b. 25, which leads to a triple repetition of the same figure with a different value of the top a¹ note, which is a puzzle in this context. This suggests that the composer could have introduced the above change – confused by b. 26, which was not written out in full – being convinced that written-out b. 24-25 are in fact b. 25-26, opening a four-bar section.
3. Stage 3:
   Chopin – probably still convinced that he was amending b. 25-26 – decided not to alter the top note of the third on the 4th quaver in b. 24-25 to d¹.

Therefore, it can be seen that the corrections performed by Chopin in b. 24-25 (stages nos. 2 and 3) could have concerned b. 25-26, according to him. It does not influence the sound of the latter; however, it allows us to regard the version of b. 24 left in A as erroneous. Therefore, it would be the initial version with c¹, given in the first of the above examples, that would be compliant with Chopin's intention. Therefore, we give it as an acceptable variant for this bar.

category imprint: Interpretations within context; Editorial revisions; Source & stylistic information

issues: Corrections in A, Errors resulting from corrections

notation: Pitch