mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

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b. 34-37

composition: Op. 28 No. 15, Prelude in D♭ major

Slur in FC (→GE)
..

In FC b. 35 opens a new line, in which the copyist overlooked the phrase marks under the L.H. part. It resulted in the phrase mark from the previous bars having been shortened and in a gap in the slurring of FC (→GE) encompassing b. 35-39.

category imprint: Differences between sources

issues: Errors of FC

b. 36-38

composition: Op. 28 No. 15, Prelude in D♭ major

..

In FE1 the crotchets in the middle R.H. voice are placed between subsequent quavers in the top voice, closer to the previous than to the next one, with which they are to be played. It can result in doubts as to the synchronization of both voices:

  • the R.H. crotchets are placed clearly before the respective L.H. crotchets,
  • the minims in b. 40-42 (placed in a similar manner) are to be played simultaneously with the preceding quaver, hence differently.

In FE2 the R.H. crotchets were moved so that they clearly combine with the following, uneven quavers. We do not reproduce this difference in our transcriptions (it does not influence the sound if read carefully).
The same applies to b. 52-54.

category imprint: Graphic ambiguousness; Differences between sources; Source & stylistic information

issues: Inaccuracies in FE , FE revisions

b. 38-39

composition: Op. 28 No. 15, Prelude in D♭ major

Slur to bar 39 in A, contextual interpretation

Slur to end of bar 38 in A (possible interpretation→FE→EE)

No slur in FC (→GE)
..

In A the ending of the phrase mark in b. 38, which closes the line, clearly indicates that it should be continued, which is not confirmed by b. 39, which is devoid of a phrase mark. We solve this slurring inconsistency (frequent in Chopin's works) in favour of the notation in b. 38 – we lead the phrase mark to the semibreve in b. 39, taking into account the four-bar structure of phrases. FE (→EE) adopted a different interpretation, perhaps easier to draw.
The missing phrase mark in FC (→GE) resulted from Fontana's oversight – see b. 34-37.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , Errors of FC , Uncertain slur continuation

b. 39

composition: Op. 28 No. 15, Prelude in D♭ major

Small crotchet in A (→FE→EE1)

in FC (→GE) & EE2
..

As in many other places, Fontana replaced the Chopinesque grace note with a common short grace note (the change also got to EE2, probably via GE1). In the main text we keep the notation of A (→FE→EE1), although it most probably carries the same meaning as a . 

category imprint: Differences between sources

issues: EE revisions , Non-slashed grace notes , Fontana's revisions

b. 41

composition: Op. 28 No. 15, Prelude in D♭ major

..

In A (→FC) this bar is marked in the R.H. part with a •/• sign as a repetition of the preceding one.

category imprint: Source & stylistic information

issues: Abbreviated notation of A