|
b. 59
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
In A one can see that sharps were crossed out before the outer notes of the R.H. chord. The version with a G category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
|||||
|
b. 59-66
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
In all sources, some groups of repeating quavers are marked as a minim tremolo. Such a notation is used in A (→FC→GE) in entire b. 62 and in the second halves of b. 59 and 66, while in FC (→GE) also in the 2nd half of b. 65. In FE the abbreviations were used in the 2nd half of b. 59 and in b. 62, while in EE only in b. 62. category imprint: Source & stylistic information issues: Abbreviated notation of A |
|||||
|
b. 60
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
At the beginning of the bar, EE1 has an additional category imprint: Differences between sources issues: EE revisions |
|||||
|
b. 62
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
The crossings-out and corrections visible in A allow us to decipher the initial version of the R.H. part in this bar: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Main-line changes |
|||||
|
b. 63-64
|
composition: Op. 28 No. 15, Prelude in D♭ major
..
The continuous slur possibly results from conviction by both Fontana in FC (→GE) and the engraver of FE (→EE) that the cause of slurs in A being separated is just another pause in the ink feed to the tip of the quill, as in b. 61-62 (as well as 66). In the editors' opinion the shape of the slurs rather indicates that they are intentionally separate. category imprint: Differences between sources issues: Inaccuracies in FE , Inaccuracies in FC |
major chord seems to be shocking here; perhaps Chopin wrote the accidentals by mistake believing that a new phrase follows immediately the section written down in an abridged manner.
in 
. The same applies to b. 70.
