mUltimate Chopin

Op. 28 No. 24, Prelude in D minor

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b. 43-46

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

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A is missing the  lowering a to a in b. 43 and three subsequent ones, marked in the L.H. part as repetition thereof. The patent inaccuracy was corrected both in FC (→GE) and FE (→EE).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Fontana's revisions , Inaccuracies in A

b. 44-53

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

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The evenly spaced three notes in the 2nd half of b. 44, 46, 48, 50, 52 and 53 suggest that they were initially supposed to be quavers; the last one was changed to a semiquaver already in the written text. The gaps themselves are a foundation too fragile for such a conclusion; however, one can indicate a few other arguments in favour thereof:

  • the absence of this phenomenon in the first part of the Prelude – prior to b. 40, in all dotted rhythms the gaps between the notes reflect the proportions of rhythmic values;
  • the last note having been definitely shortened from quaver to semiquaver in b. 38;
  • notation in b. 40, in which the correction is evidenced both by the gaps (greater between the 1st and 2nd notes than between the 2nd and 3rd) and the semiquaver beam (added too low and clumsily);
  • clearly darker shade of the semiquaver beams in b. 52-53, which indicates that they were added later.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Main-line changes , Dotted or even rhythm

b. 45

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

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In A one can see that the bar initially included a different rhythm and articulation of the melody: .

category imprint: Corrections & alterations; Source & stylistic information

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

b. 46

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

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One can see a crossed-out semiquaver rest between the last two R.H. notes in A. Chopin also combined the slurs that initially encompassed three notes before the rest and the further part of the motif to the a1 crotchet.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 47-49

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

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In A and in the remaining sources there is a cautionary  next to A in b. 47. In the main text we add in this bar a  also next to a. The accidental was also added in FC (→GE). In addition, since in FC (differently than in A) b. 48-49 were marked in an abridged manner as repetition of b. 47, GE printed the cautionary naturals next to A and a (present in FC in b. 47) also in b. 48-49. All those cautionary naturals (including the unnecessary ones) were also introduced in EE2, most probably on the basis of comparison with GE1.

category imprint: Differences between sources; Editorial revisions; Source & stylistic information

issues: EE revisions , Cautionary accidentals , Fontana's revisions