mUltimate Chopin

Op. 28 No. 24, Prelude in D minor

Text Compare Notes Sources Description

Issues : Corrections 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. 41-42

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

    in A (→FE→EE) & contextual interpretation of FC 

   in GE
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Fontana omitted the  mark at the beginning of b. 41 in FC, leaving a lonely  asterisk at the end of b. 42. GE completed the pedalling; however, in the face of varied L.H. figures in these bars, a separate pedal was added in each of them. The crossing-out of the  mark at the end of b. 41, visible in A, proves that Chopin consciously combined them with pedal. Crossings-out of those marks in similar situations are also present at the end of b. 9, 20 and 54.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , GE revisions , Deletions in A , Errors of FC

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