The crossings-out visible in A reveal an earlier version of the L.H. figures; in that version the 4th note of each of them was like the second and not the first. Analogous corrections are also visible in b. 55 and 70, which may mean that in the working notation of the Prelude, which Chopin used while writing A, the entire L.H. part was based on such figures, and the change to the final version was not marked at all or only signalised, e.g. at the beginning of the piece. The aforementioned corrections would therefore suggest that the composer temporarily lost his focus while modifying the figuration at the time of rewriting.
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category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A, Accompaniment changes
notation: Pitch