mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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Issues : Deletions in A

b. 24-25

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

in FCI

dim. - - - in A (→FC→GE, →FE→EE)
..

The  marking represents an earlier, less developed dynamic concept – the next indication in FCI would be the whole-bar  mark over the R.H. part in b. 32, in the final version replaced with a long accent in the middle of that bar. In A, in the discussed bars, Chopin initially wrote other markings too – two more or less whole-bar  marks. 

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

issues: Corrections in A , Deletions in A

b. 37

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

..

The crossing-out of the D-d octave at the beginning of the bar, visible in A, suggests that moving the bass line in b. 37-40 an octave lower (with respect to the version of FCI) was an idea born in the process of writing A or fresh enough for Chopin to commit a mistake in the first of the lowered octaves. In A we can see a crossed-out  before the first d2 note in the R.H., which is an example of Chopin's uncertainty as to the key signature.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Bass register changes , Last key signature sign

b. 39

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

..

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

..

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. 44

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

..

The b notes were initially repeated on the 5th and 6th quavers, which is proven by them having been crossed out (it can be seen in A).

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A