mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

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b. 65

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

..

In A (→FE,FC→GE) the  before the 1st R.H. chord is at the pitch of d1. Chopin's patent mistake was rectified in EE; a respective correction is also in FES. The mistake resulted from rhythmic corrections in the parts of both hands that made Chopin cross out the entire bar and rewrite it on the staves below – in the crossed-out version the  was at the right pitch.
The corrections concerned the 1st L.H. crotchet (illegible) and the 2nd and 3rd R.H. chords – the top g1 note in the chord on the 3rd beat of the bar was crossed out, while in the chord on the 2nd beat it was prolonged to a minim. Therefore, it is an example of Chopin's hesitation; in the final version, he returned to the initial concept.

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

issues: Corrections in A , Chopin's hesitations , Errors resulting from corrections , Terzverschreibung error , Deletions in A , Accidental below/above the note

b. 65-66

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

2 long accents in A

Long accent in FC (→GE)

2 short accents in FE

2 vertical accents in EE
..

The two long accents we give in the main text come from A. The copyist overlooked the second one in FC (→GE), and short accents in FE result from inaccurate recreation of A. The vertical accents in EE are an arbitrary revision characteristic of this edition.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , Errors of FC

b. 66

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

 in A

  in remaining sources
..

The missing  mark must be Chopin's oversight provoked by a combination of the fact that the notation of this bar is tightly packed and the fact that the bar is at the turn of the page. The mark was added both in FC (→GE) and FE (→EE).

category imprint: Interpretations within context; Differences between sources

issues: No pedal release mark

b. 68

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

..

The corrections visible in A reveal that the repeated G quavers were initially continued in the 2nd half of the bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 70-88

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

..

Some four-quaver groups of repeating notes are written down in the sources as minims marked with a quaver tremolo. Such a notation is in A (→FC→GE) in b. 70, 72-74 and 85-88 and in the 2nd halves of b. 71 and 84 and the 1st half of b. 75. In FE (→EE) the abridged notation was kept only in b. 70.

category imprint: Source & stylistic information

issues: Abbreviated notation of A