mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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b. 32-33

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

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In FCI, in the bottom R.H. voice the e1-b1 fifth is repeated until the end of b. 33. According to us, as was the case with the changes to the length of the phrase and to the top voice rhythm (see the notes above), it is also this harmonic version that deviates too much from the final shape of this section and cannot be considered an independent variant.

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

issues: Accompaniment changes

b. 33

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

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In A (→FE) there are only 3 flats before the 1st chord – e2, c2 in the R.H. and a1 in the L.H. In FC and EE1 a  lowering c1 to c1 and a cautionary one before a were added, while in GE and EE2 a cautionary  before e1 was also added.
The necessary  lowering c1 to c1 was added in FED.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , Cautionary accidentals , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 35

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

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In the main text we add a cautionary  before d1 and a  before c2. The flat is present in FCI.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Cautionary accidentals

b. 35

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

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In FCI the first 2 R.H. quavers, apart from the d1-g1 tritones, include c2 and b1 too. The first of them seems to be inaccurately written, hence it cannot be excluded that it should be interpreted as b1, which would be a counterpart of the melodic line in b. 10 and 65. It cannot be resolved on the basis of the photocopy available to us, hence we give c2, in accordance with the interpretation of that manuscript by other editors, e.g. Paul Badura-Skoda (Peters, E. P. 13178) or Jean-Jacques Eigeldinger, Peters, No. 7532).

category imprint: Corrections & alterations; Source & stylistic information

issues: Main-line changes

b. 37

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

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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