mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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b. 39

composition: Op. 28 No. 17, Prelude in A♭ major

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In A the e1 notes on the 4th and 5th quavers were initially written in the R.H. part, which is proven by the visible crossings-out. According to us, this correction points to distraction while writing this place, since the final assignment of those notes can be observed already in FCI, which Chopin probably forgot while writing A.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 43

composition: Op. 28 No. 17, Prelude in A♭ major

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In A one can see that Chopin initially wrote the mordent with a conventional  mark. In the grace notes added instead of , the  before c2 merged with the arpeggio sign, resulting in a mark resembling a . Consequently, in FE (→EE1) the 2nd grace note is c2. Chopin reacted to this mistake in FES by adding a  in pencil (which Miss Stirling later wrote in ink). The correct text is also to be seen in EE2, probably on the basis of GE1.

In this place, FCI includes an earlier version – there are no ornaments on the 4th quaver in the bar, while b1 is linked with a tie to the dotted crotchet at the beginning of the bar.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Annotations in teaching copies , EE revisions , Errors in FE , Corrections in A , Errors resulting from corrections , Deletions in A , Annotations in FES , Main-line changes , Inaccuracies in A

b. 43

composition: Op. 28 No. 17, Prelude in A♭ major

Arpeggio sign in A & FED

No sign in FC (→GE) & FE (→EE)
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In A the arpeggio sign merged with the  before the second grace note (see the note on grace notes above), hence it was omitted both in FC (→GE) and FE (→EE). In FED Chopin added a diagonal slur to mark arpeggio.

category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Errors resulting from corrections , Errors of FC

b. 43-64

composition: Op. 28 No. 17, Prelude in A♭ major

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category imprint: Differences between sources; Corrections & alterations

b. 43-64

composition: Op. 28 No. 17, Prelude in A♭ major

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In the manuscripts and in GE, repeating elements – chords, groups of quavers, bars – are written down with the use of various abbreviations.
In FCI b. 60-61 are marked with letters a, b as a repetition of b. 58-59; the groups of quavers in the 2nd half of b. 62 are marked with / signs, while b. 63-64 with •/• as a repetition of b. 62.
In A (→FC) the groups of repeated quavers are written down as dotted crotchets or minims with quaver tremolos; in turn, to mark b. 64 •/• signs were used. Tremolos are to be found in the 2nd halves of b. 43, 47, 57 and 59-61 and in b. 62-63. In FC a tremolo is also in the 2nd half of b. 58.
In GE the •/• signs and some tremolos were expanded. Abridged notation (tremolos) was kept in b. 43, 47 and 62-64.

category imprint: Differences between sources; Source & stylistic information

issues: Abbreviated notation of A , Fontana's revisions