mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

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b. 16-18

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

Fingering written into FED

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 17

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

f1 in A (→FE→EE1)

e1-f1 in FC (→GE) & EE2
..

The 7th quaver in A (→FE→EE1) is a single f1 note. The e1-f1 second featured in FC (→GE) most probably resulted from a misinterpretation of A. It can be difficult to determine the presence of a middle note of a chord placed on a ledger line in Chopin's autographs; however, this place was written quite clearly – it differs visibly from, e.g. the e1-f1 second in b. 15.

category imprint: Differences between sources

issues: EE revisions , Errors of FC

b. 17-18

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

Separate slurs in FC (→GE)
..

The version of FC (→GE) resulted from a mistake or imprecision of the notation of FC, in which b. 17 closes the line, and the phrase mark barely goes beyond the d2 semiquaver.

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 19

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

Slur to end of bar in A, probable interpretation

Slur to bar 20 in A, possible interpretation (→FC→GE, →FE→EE)
..

The phrase marks of A between the lines are ambiguous – the ending of the phrase mark in b. 19 suggests that it should be continued, which is not confirmed by the beginning of the phrase mark in b. 20. At the same time, both in b. 19 and b. 20 the interpretation is unobvious – in b. 19 the phrase mark does not go beyond the bar line as far as it does the line above or below, while the phrase mark in b. 20 begins after the 1st note, but its flat shape suggests that it is a continuation of the previous one. Similar situations can be found between the lines in b. 12-13 and 21-22. However, they fall within the phrases, and the endings of the phrase marks in b. 12 and 21 are so suggestive that there are no doubts that they should be continued. As in the discussed place a new phrase begins (cf. the phrase mark in b. 5), we suggest two interpretations of A.

category imprint: Graphic ambiguousness; Source & stylistic information

issues: Inaccurate slurs in A , Uncertain slur continuation

b. 19

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

Crotchet g in A (→FC)

No crotchets in FE (→EE1) & GE

Crotchets g & a in FED, FES & EE2
..

The stem prolonging the g quaver was overlooked both in FE (→EE1) and GE). Chopin added it in FED and FES; moreover, in both copies he also prolonged the last a quaver. We consider that addition, most probably introduced independently in each of the copies, a development of the original idea and adopt it to the main text.
It remains a mystery how the reviser of EE2 found out about those prolonged notes (see also Fantaisie in F minor, Op. 49, bar 10). 

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Errors in GE , Annotations in FES