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Op. 28 No. 15, Prelude in D♭ major

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Issues : EE revisions

b. 4

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

Quavers in A (→FE,FC→GE)

Semiquavers in EE
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The change of quavers to semiquavers introduced by EE is right, as far as the rules of rhythmic notation are concerned. However, according to Chopin, the seemingly wrong original notation was most probably aimed at a calm, slightly slower performance of this figure. The same applies to b. 23.
See also b. 79 as well as the Prelude No. 18 in F Minor, b. 12, the Concerto in F Minor, Op. 21, 1st mov., b. 93 or the Nocturnes, Op. 9: No. 1 in B Minor, b. 73 and No. 2 in E Major, b. 16.

category imprint: Differences between sources

issues: EE revisions

b. 7

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

Quaver a in A (→FC→GE, →FE→EE1)

Crotchet in EE2
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Following in the footsteps of the reviser of EE2, in the main text we suggest adding an additional crotchet stem next to a in the 2nd half of the bar after analogous b. 3. In further analogous bars (b. 22 and 78) respective extensions are not to be found any more in A (both in the 1st and the 2nd halves of the bar). Marking the first appearance of a given phrase in a more accurate manner was Chopin's frequent practice, hence the absence of those stems does not have to be considered an oversight. However, in the case of such single details, yet important for the sonic atmosphere, recurring at significant intervals, we consider it right to add the omitted elements of notation.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 12

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

c1 in A (literal reading→FE,FC→GE1)

c1 in EE, GE2 (→GE3), FED & FES
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The version of A (→FE,FC→GE1), without a  before the 3rd quaver in the bar, almost certainly resulted from Chopin's mistake, which is confirmed by the flats he wrote in FED and FES. In FC there is also no  before the 7th quaver, most probably due to an oversight, since in A the accidental is poorly visible due to the crossing-out showing through the page. Admittedly, both flats are visible on the photo of FC; however, they were added there much later by H. Scholtz, which explains the absence of the former in GE1 (the latter was added thanks to the  in the R.H.). The fact that those flats were added later is evidenced by their font (they are clearly bigger than the ones written by Fontana) and by the intensity of blackening, pointing to a pencil.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , EE revisions , Annotations in FED , GE revisions , Omission of current key accidentals , Errors of A , Annotations in FES , Errors of FC , Errors repeated in FE

b. 13

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

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We add cautionary naturals before f1 and f2 in the main text. The accidentals were also introduced in GE and EE2.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 17

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

f1 in A (→FE→EE1)

e1-f1 in FC (→GE) & EE2
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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