Issues : Deletions in A
|
b. 1
|
composition: Op. 28 No. 12, Prelude in G♯ minor
..
After Presto, in A one can see that the further part of the indication was crossed out, most probably con fuoco. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Changes of tempo markings |
|||
|
b. 12
|
composition: Op. 28 No. 12, Prelude in G♯ minor
..
This bar was entirely crossed out in A and rewritten on adjacent staves – the R.H. above the crossing-out, while the L.H. – below. In the readable initial version, the regular steps of the R.H. quavers and the position of the 1st L.H. chord are preserved, while the f1 notes are written enharmonically as e category imprint: Corrections & alterations; Source & stylistic information issues: Omissions to cancel alteration , Corrections in A , Deletions in A , Accompaniment changes , Enharmonic corrections , Main-line changes |
|||
|
b. 27-32
|
composition: Op. 28 No. 12, Prelude in G♯ minor
..
In these bars Chopin would consistently put accidentals in A (→FE) only next to the bottom notes of the L.H. octaves (or not at all, as is the case with the 2nd crotchet in b. 27-28). Moreover, in b. 32 the category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: EE revisions , Accidentals in different octaves , GE revisions , Deletions in A , Fontana's revisions , Inaccuracies in A , Errors repeated in FE |
|||
|
b. 33-34
|
composition: Op. 28 No. 12, Prelude in G♯ minor
..
Starting from the 2nd beat of b. 33, the R.H. part was enhanced by Chopin; he crossed out the earlier version, which we present below: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Accompaniment changes |
|||
|
b. 36
|
composition: Op. 28 No. 12, Prelude in G♯ minor
..
Due to crossings-out and corrections, the notation of the 3rd beat of the bar is not entirely clear in A, which is proven by the difference between the versions of FC (→GE) and FE (→EE). According to us, it is more likely that Chopin wanted to remove the f category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
1: 
. The corrections had been performed before the performance marks were introduced – the crossed-out version did not contain the following elements: accent, staccato dots, phrase mark, dashes marking the range of crescendo and pedalling marks. The 
restoring b1 on the 3rd beat of the bar was also missing.
. The changes consisted in making the bottom voice independent and in rejecting short slurs in favour of a longer phrase mark. Considerable corrections can also be seen in the following bars – see the notes to 
