mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

Text Compare Notes Sources Description

Issues : Annotations in FES

b. 21-22

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

No sign in A (→FC→GE, →FE→EE)

in FES

(), our variant suggestion
..

It is problematic to assess the range of the  hairpin entered into FES most probably by Chopin – the arms of the mark are clearly of a different length, which happened often to Chopin. According to us, it is the top arm that is reliable, probably written first, from right to left.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Scope of dynamic hairpins , Annotations in FES

b. 21

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

No marking in A (→FC→GE, →FE→EE)

Slur in FES, possible interpretation
..

The pencilled mark written in FES over the L.H. part may be interpreted as a slur (the range of which would mimic the one of the slur in b. 81). However, it is uncertain whether it is a slur at all, hence we signalize this possibility as an alternative version only.

category imprint: Graphic ambiguousness; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FES

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)
..

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. 49

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

C-c in A (→FC→GE1, →FE→EE)

E-c in FED, FES & GE2 (→GE3)
..

This bar is a literal repetition of b. 33; as was the case with that bar, Chopin signalized a change of concept of the last crotchet with compliant corrections in the teaching copies. The changed version was also introduced by GE2 (→GE3).

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Chopin's hesitations , GE revisions , Annotations in FES

b. 50

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

Sign written into FES

No teaching fingering
..

In the main text we include the mark indicating that the e crotchet should be performed by the R.H. The suggestion – facilitating the performance – was entered into FES, presumably by Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES