mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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Issues : Corrections in A

b. 39

composition: Op. 28 No. 17, Prelude in A♭ major

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In A the e1 notes on the 4th and 5th quavers were initially written in the R.H. part, which is proven by the visible crossings-out. According to us, this correction points to distraction while writing this place, since the final assignment of those notes can be observed already in FCI, which Chopin probably forgot while writing A.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 43

composition: Op. 28 No. 17, Prelude in A♭ major

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In A one can see that Chopin initially wrote the mordent with a conventional  mark. In the grace notes added instead of , the  before c2 merged with the arpeggio sign, resulting in a mark resembling a . Consequently, in FE (→EE1) the 2nd grace note is c2. Chopin reacted to this mistake in FES by adding a  in pencil (which Miss Stirling later wrote in ink). The correct text is also to be seen in EE2, probably on the basis of GE1.

In this place, FCI includes an earlier version – there are no ornaments on the 4th quaver in the bar, while b1 is linked with a tie to the dotted crotchet at the beginning of the bar.

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

issues: Annotations in teaching copies , EE revisions , Errors in FE , Corrections in A , Errors resulting from corrections , Deletions in A , Annotations in FES , Main-line changes , Inaccuracies in A

b. 44

composition: Op. 28 No. 17, Prelude in A♭ major

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The b notes were initially repeated on the 5th and 6th quavers, which is proven by them having been crossed out (it can be seen in A).

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 49

composition: Op. 28 No. 17, Prelude in A♭ major

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In the chord on the 4th quaver in the bar, FCI includes an additional note (c2). The fact that it was crossed out in A proves that Chopin abandoned it only at the final stage of work on the Prelude.

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

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 54

composition: Op. 28 No. 17, Prelude in A♭ major

 under 3rd quaver in A (→FC→GE)

 under 2nd quaver in FE (→EE)
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Chopin prolonged pedal in this place, which is proven by  having been crossed out at the end of b. 53 (which we can see in A). The composer's intention was distorted in FE (→EE) by placing the mark a quaver earlier. A similar shift of the  mark (for the pedal to encompass the first octave of the chromatic bass sequence) can also be seen in A in b. 50.

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

issues: Inaccuracies in FE , Corrections in A , Deletions in A