mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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Rhythm

b. 65

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

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In FCI the first e1-b1 fifth is not tied from the previous bar. It is the initial version or the copyist's oversight.

category imprint: Differences between sources; Corrections & alterations

b. 83

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

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This bar is absent in FCI, which could be seen as one more example of haplography – cf. the versions of FC in the Prelude in G minor no. 12, b. 78-79 or in B major no. 21, b. 54. However, according to us, this version keeping a regular, two-bar gap also between the last strokes of the bass A1 (in FCI it is not repeated anymore in b. 88) suggests that this is the initial version, expanded later by Chopin:

  • he added a stroke of the bass note in b. 88 while gradually reducing its frequency;
  • he improved the combination of the main theme of the Prelude with the ending by repeating the motif twice as a calming factor, first to a two-bar section (b. 79-80 and 81-82) and then one-bar section (b. 82 and 83).

category imprint: Differences between sources; Corrections & alterations

issues: Changed phrase length

b. 85

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

Rests in FCI, literal interpretation

c1 & chord in FCI (contextual interpretation) & remaining sources
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In FCI this bar is marked as a repetition of the previous one (•/•). When interpreted literally, it would mean including the bass A1 at the beginning of the bar, which contradicts the notation of the copy, since A1 from b. 84 is tied to this bar and further on, to the end of the piece. Assuming that the elements written in addition to the repeat sign are to supplement or change the notation of the repeated model, we get the first of the given interpretations, in which we fill the missing 1st L.H. quaver with a rest, after the bottom R.H. voice. However, according to us, repeat signs require a more flexible approach here, and according to Chopin the bar was supposed to look like the one in the final version.

category imprint: Interpretations within context; Differences between sources

b. 86-87

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

Crotchets in A (→FE,FC→GE) & FCI

Dotted crotchets in EE
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The version of EE was probably introduced to supplement the top voice rhythm. However, it contradicts the notation of A and FCI and is certainly wrong – had Chopin wanted to introduce an effect of the E major chords mingling delicately with the held a1 notes, he would not have forgotten to accurately mark such an unobvious performance.

category imprint: Differences between sources

issues: EE revisions