mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

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Pitch

b. 23-24

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

No fingering in A (→FE,FC→GE)

Fingering in EE
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The fingering of EE, with the 5th finger crossing under the 4th, which is typical of Chopin, almost certainly does not come from Chopin, since there are no indications that he could have participated in the development of EE.

category imprint: Differences between sources

b. 28-46

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

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EE1 has wrong key signatures in bars 28-49 – 6 sharps on the upper staff in bars 28-49 (4 lines of text), and 5 sharps on the lower staff in bars 28-43 (3 lines). This astonishing mistake was corrected in EE2. Interestingly, the additional sharps change the pitch of only three notes in this entire fragment – e1 to e1 in the middle of bar 38, and at the beginning of bars 40 and 41.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE

b. 30

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

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In GE1 the 1st L.H. crotchet is an E-e octave. This typical Terzverschreibung mistake was corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error , GE revisions

b. 33

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

C-c in A (→FC→GE1, →FE→EE)

E-c in FED, FEJ, FES & GE2 (→GE3)
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The published version of the last L.H. crotchet, a C-c octave, is most probably a result of a correction, which is revealed by the way it was written down in A – the bottom note is at the same pitch as the three E notes in b. 32-34 (as well as the ledger lines of the three D notes), while the ledger line placed above it differs in the thickness from the adjacent ones, which shows that it was added later. Therefore, it was initially an E-c sixth. In this situation, we consider the correction (performed in all three teaching copies bearing traces of being developed, i.e. FED, FEJ and FES) turning the octave back to a sixth to be Chopin's final decision (probably), presumably taken after multiple trials.
The fact that GE2 includes the version passed by Chopin to his pupils might indicate that the publisher had contact with a person from Chopin's circle, someone who knew about that correction – it seems rather unlikely that the reviser introduced such a change without any source indications. However, the octave was perhaps deemed mistaken because in this entire phrase, all the remaining c notes of the upper voice are coupled with an E in the lower one.
A similar situation can be found in b. 49. 

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

issues: Annotations in teaching copies , Annotations in FED , Corrections in A , Chopin's hesitations , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ

b. 47-49

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

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EE1 has 6 sharps as the key signature on the upper staff in bars 47-49. The error, with no bearing on the actual sound, was corrected in EE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in EE