mUltimate Chopin

Op. 28 No. 24, Prelude in D minor

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b.

composition: Op. 28 No. 24, Prelude in D minor

..

In A (→FE,FC→GE) Chopin wrote 4 unnecessary (cautionary?) naturals in b. 55 in the sequence of thirds: before c4 (6th semiquaver), e3 (11th semiquaver), d3 (16th semiquaver) and a2 (18th semiquaver). In turn, he overlooked the necessary  restoring c2 on the 11th semiquaver in b. 56, which was also repeated in all the aforementioned sources. EE removed two superfluous accidentals, before c4 and d3, and enharmonically changed the Chopinesque orthography in three places:

  • the 12th semiquaver in b. 55 was written as e3-g3; consequently, the then unnecessary naturals before the next third were removed and a  restoring e3 was added in the subsequent one;
  • the same applies an octave lower in b. 56 (6th, 7th and 8th semiquavers);
  • the 11th semiquaver in b. 56 was written as b1-d2; consequently, the then unnecessary naturals before the next third were removed and a  restoring b1 in the subsequent one was added. This manner of notation reminds the one Chopin used before (first two octaves higher and then an octave higher).

category imprint:

b. 2-8

composition: Op. 28 No. 24, Prelude in D minor

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In A (→FC) the L.H. part is marked in these bars (as well as in b. 9) in an abridged manner as repetition of b. 1.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 3-4

composition: Op. 28 No. 24, Prelude in D minor

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In the first part of both bars, one can see crossings-out in the R.H. part in A. In b. 3 the correction most probably concerned rhythm – it seems that Chopin started writing the first two notes as a dotted quaver and a semiquaver. The crossings-out in the 1st half of b. 4 could have concerned two rests (a crotchet rest and a quaver one). It would mean that the dotted d1 crotchet and the tie that reaches it were added later. Traces of such minor rhythmic changes can also be seen later on, see, e.g. b. 5 and 8. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 3

composition: Op. 28 No. 24, Prelude in D minor

Long accent in A

No mark in FC (→GE)

 in FE (→EE)
..

The missing accent in FC (→GE) resulted from the distraction of the copyist, who overlooked the marks from the entire first line of A. In FE (→EE) this long accent was reproduced as a half-bar diminuendo hairpin, which more or less corresponds to the length of the mark in A, but does not include the fact that it should be placed under the a1 crotchet only.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE , Errors of FC

b. 4-7

composition: Op. 28 No. 24, Prelude in D minor

  &  in A (→FE→EE)

No signs in FC (→GE)
..

As was the case with b. 3, the missing dynamic hairpin in FC (→GE) resulted from the inadvertence of the copyist, who overlooked the marks from the entire first line of A (b. 1-6) and b. 7 (in the case of b. 7, deciphering the mark in A is actually hampered by the crossings-out, clearly visible from the other side of the page).

category imprint: Differences between sources

issues: Errors of FC