mUltimate Chopin

Op. 28 No. 12, Prelude in G♯ minor

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Issues : Deletions in A

b. 37-38

composition: Op. 28 No. 12, Prelude in G♯ minor

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The crossings-out visible in A reveal the initial version of the L.H. part, which we present below: .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 39

composition: Op. 28 No. 12, Prelude in G♯ minor

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In A one can see that the additional a1 crotchets on the 2nd and 3rd beats of this bar were crossed out.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 53-54

composition: Op. 28 No. 12, Prelude in G♯ minor

Long accents in A, literal reading

Short accents in A, contextual interpretation (→FC→GE, →FE→EE)
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In A the accents in these bars are longer than in the next ones. The difference was considered insignificant both in FC (→GE) and FE (→EE), which seems to be the right decision, since there is no visible reason why identical pairs of bars (53-54 and 55-56) would be accented differently. However, it could be that Chopin wanted the places to be performed in a more nuanced manner, particularly since b. 53-54 (but not 55-56) were initially provided with a  hairpin in A, which was eventually crossed out. Actually, one can never rule out a nuanced performance in similar situations, even when the indications do not differ; therefore, we suggest the long accents, interpreted literally, as an alternative version. 

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Long accents , Inaccuracies in FE , Deletions in A , Inaccuracies in FC

b. 68-69

composition: Op. 28 No. 12, Prelude in G♯ minor

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In A one can see here crossings-out and corrections in both parts; however, we were able to decipher only some of the crossed-out versions. The 2nd beat of b. 68 could have featured e (with a ) in the L.H. and c1-g1 in the R.H. It must have been d-f that was on the 3rd beat in the L.H., perhaps as a correction of the version with d only. In the R.H., the top voice was not being changed, whereas the bottom one contained c1-f1 (to which Chopin eventually returned) and then a sole c1 note. At the beginning of b. 69 one can see two crossed-out L.H. crotchets – G-d-g, which were probably written first, and G-g.
See also b. 70.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes

b. 70

composition: Op. 28 No. 12, Prelude in G♯ minor

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The first L.H. octave was being changed a few times in A. Among the crossed-out versions, there was certainly a G-g octave (first on the left) and most probably also an E-e octave (second on the left). The third crossed-out crotchet could have been a G-g octave (again) or a G-d-g chord. Anyway, it seems certain that the eventually written E-e octave is not a mistake, as supposed by many subsequent editors of collective editions.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes