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Issues : Deletions in A
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b. 37-38
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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 |
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b. 39
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composition: Op. 28 No. 12, Prelude in G♯ minor
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In A one can see that the additional a category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
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b. 53-54
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composition: Op. 28 No. 12, Prelude in G♯ minor
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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 category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Long accents , Inaccuracies in FE , Deletions in A , Inaccuracies in FC |
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b. 68-69
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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 category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes |
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b. 70
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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 category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes |
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