mUltimate Chopin

Op. 28 No. 24, Prelude in D minor

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Rhythm

b. 22

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

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In A there is no dot extending the a crotchet, which is a patent oversight. The dot is present in all the remaining sources.

category imprint: Interpretations within context; Differences between sources

issues: Rhythmic errors , Errors of A , FE revisions , Fontana's revisions

b. 31-32

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

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Chopin crossed a tie to g out in A. See bars 13-14.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 38

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

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In A one can see that the last g1 note was initially a quaver. Chopin then replaced it with a semiquaver and added a rest before it. See also b. 40.

category imprint: Corrections & alterations; Source & stylistic information

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

b. 40

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

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In A Chopin probably changed the rhythm of the last two notes from quavers to a dotted rhythm. The correction is evidenced by the evenly spaced notes (the gap between the 1st and the 2nd notes is even slightly greater than between the 2nd and 3rd) as well as by the semiquaver beam, placed too low and clumsily, which suggests that it was added later. Similar corrections were probably introduced also into further bars – see b. 44-53.

category imprint: Corrections & alterations; Source & stylistic information

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

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