mUltimate Chopin

Op. 28 No. 24, Prelude in D minor

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Issues : Deletions in A

b. 20-21

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

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In the abridged notation of the L.H. part, Chopin initially used two •/• marks in each of these bars. Therefore, they indicated particular figures, not bars.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 20

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

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At the end of the bar, one can see a crossed-out  mark in A. Crossings-out of those marks in similar situations are also to be found at the end of b. 9, 41 and 54.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 26

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

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The crossings-out visible in A reveal that the initial motif of this phrase (from c1 to b1) was initially provided with shorter slurs, adjusted to the earlier rhythmic version. The a1 quaver and the c2 semiquaver were separated by a semiquaver rest (as it is in b. 8), and the slurs encompassed three notes before the rest and two after the rest.

category imprint: Corrections & alterations; Source & stylistic information

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

b. 30-35

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

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In b. 30-31 and 34-35 the slurs in A were initially broken over the semiquaver rest.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

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