mUltimate Chopin

Op. 28 No. 15, Prelude in D♭ major

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b. 2

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

b in A (→FC,FE) & GE2 (→GE3)

a in GE1
..

The version of GE1 must be the engraver's mistake, corrected in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 5

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

..

In A the penultimate quaver in the bar was initially a d1-f1 third, like in b. 1. The same applies to b. 24.

category imprint: Corrections & alterations; Source & stylistic information

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

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. 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

..

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