mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

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b. 7

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

Quaver a in A (→FC→GE, →FE→EE1)

Crotchet in EE2
..

Following in the footsteps of the reviser of EE2, in the main text we suggest adding an additional crotchet stem next to a in the 2nd half of the bar after analogous b. 3. In further analogous bars (b. 22 and 78) respective extensions are not to be found any more in A (both in the 1st and the 2nd halves of the bar). Marking the first appearance of a given phrase in a more accurate manner was Chopin's frequent practice, hence the absence of those stems does not have to be considered an oversight. However, in the case of such single details, yet important for the sonic atmosphere, recurring at significant intervals, we consider it right to add the omitted elements of notation.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 8

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

..

The crossing-out visible in A reveals that the 1st quaver in the 2nd half of the bar was initially d. 

category imprint: Corrections & alterations; Source & stylistic information

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

b. 9

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

Fingering written into FED & FES

No teaching fingering
..

In the main text we give identical indications entered into FED and FES – a mark indicating that f1 should be performed by the R.H. and two fingering digits concerning the L.H.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES

b. 10-11

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

..

In A one can see that the first two quavers in b. 11 were crossed out; they were initially f2-d2. It was also a tie to the former, running from b. 10, that was crossed out. It is probably a correction of an erroneously introduced fragment of b. 14-15.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors of A , Deletions in A

b. 11-17

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

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In A one can see that Chopin was reducing the range of the accompanying figures in b. 11 and 17. In particular, he moved the bass note in the 2nd half of b. 11 an octave higher: , while in b. 17, which was initially identical to b. 15, he replaced both bass F notes with dyads in the middle register.

category imprint: Corrections & alterations; Source & stylistic information

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