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b. 1-23
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composition: Op. 28 No. 17, Prelude in A♭ major
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The text of FCI, containing an earlier version of the Prelude, differs, more or less, from the remaining sources. In further comments, we take into account the versions of FCI only where they may influence the interpretation of A and the determination of the main text; in a few cases, also where they constitute musically interesting alternative solutions with respect to the main text, yet consistent with the version intended for printing. category imprint: Differences between sources; Corrections & alterations |
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b. 1
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composition: Op. 28 No. 17, Prelude in A♭ major
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In A one can see that Chopin initially wrote category imprint: Corrections & alterations; Source & stylistic information issues: Changes of metre , Corrections in A , Chopin's hesitations , Deletions in A |
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b. 1-2
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composition: Op. 28 No. 17, Prelude in A♭ major
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Fontana overlooked the dynamic hairpins in FC (→GE). The notation of A does not specify the range of the marks, since bar 2 was not written out with notes. We adopt the natural interpretation of FE (→EE). category imprint: Graphic ambiguousness; Differences between sources issues: Scope of dynamic hairpins , Errors of FC |
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b. 1
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composition: Op. 28 No. 17, Prelude in A♭ major
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According to us, the fact that the more specific tempo indication was abandoned in the final version of the Prelude may mean that the shape of the piece had crystallized – the double indication of FCI actually introduces an element of uncertainty, which suspends the tempo of the piece somewhere between Allegretto and Andantino. category imprint: Differences between sources issues: Changes of tempo markings |
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b. 1-2
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composition: Op. 28 No. 17, Prelude in A♭ major
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To write down these bars in A, Chopin used repeat marks – / to mark the L.H. part in the 2nd half of b. 1 and •/• in b. 2. In FC repeat marks were used only in b. 2. The highest number of repeat marks is to be found here in FCI – all those visible in A as well as / instead of the R.H. part in the 2nd half of b. 1. category imprint: Source & stylistic information issues: Abbreviated notation of A |
to mark the time signature on both staves. Moreover, the eventually left 6/8 reveal (also on both staves) minor crossings-out, which seem to be digits preceding the digits 6, although it is difficult to guess what their meaning could be. Anyways, it is an example of Chopin's hesitation, since the time signature in 
in 
