mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

Text Compare Notes Sources Description

Issues : Annotations in teaching copies

b. 26

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

No indication in A (→FC→GE, →FE→EE)

in FED

(), our variant suggestion
..

In the main text we include – in a variant form – the marking added in FED and coming from Chopin.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

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. 44

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

No indication in A (→FC→GE, →FE→EE)

in FED

(), our variant suggestion
..

 added by Chopin in FED confirms that the absence of  in the preceding bar in FE was an oversight of the engraver. According to us, both indications, although neither of the sources contains both at the same time, are not mutually exclusive; what is more, they could be considered complementary. Therefore, in the main text we include the addition of FED in a variant form. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

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