mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

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b. 23

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

Quavers in A (→FE,FC→GE)

Semiquavers in EE
..

As was the case with b. 4 and 79, we keep Chopin's authentic notation as almost certainly intended by the composer.

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category imprint: Differences between sources

issues: EE revisions

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.

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

issues: Inaccuracies in FE , FE 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: . The same applies to b. 70.

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category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

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.

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category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 76

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

Dotted minims in A & FE2

Minims in FC (→GE), FE1 & EE1

Minim & crotchet in EE2
..

The distinct dots prolonging the d1-f1 third are overlooked in both FC (→GE) and FE1. They are restored in FE2, but omitted again in EE1, possibly by analogy with b. 80. The third added on the 4th beat in EE2 accounts for an arbitrary revision presumably aiming at complementing the supposedly missing rhythmic value, with reference to bars 1 and 20.
Similarly in b. 80.

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category imprint: Differences between sources

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