mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 54-56

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

..

In these bars the version of FCI clearly deviates from the final one – different harmonic rhythm in b. 54 and different shape of the melody in b. 55-56. We can also observe small changes to the arrangement of chords and enharmonic notation.

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

issues: Accompaniment changes , Enharmonic corrections , Main-line changes

b. 56

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

..

At the beginning of the bar, in FCI one can see a quaver dyad in the bottom R.H. voice. The top note is d2, while the pitch of the bottom note is poorly legible on the available photograph – it can be g1 or g1 transformed into a1. To our interpretation of FCI we adopt the latter, i.e. a self-correction of the copyist resulting in a1.

category imprint: Graphic ambiguousness

b. 59-61

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

..

FCI has e as a bass note in bars 59 and 61.

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

issues: Bass register changes

b. 65-66

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

..

In FCI the L.H. part in b. 65 clearly differs from the final version; however, it is important to mention that the interpretation of the 2nd and 3rd quavers is uncertain due to the poor quality of the photograph available to the mUltimate Chopin editors. The uncertainty concerns the pitch of the top notes, which we interpret as c1, since they are placed on a ledger line. However, we cannot rule out a possibility of them having been corrected, perhaps to b. The interpretation of the spots under the beam is also uncertain (one could see A noteheads in them). Such a placement of noteheads with respect to the beam is not used in a regular notation; however, it could have been created as a result of those notes having been added. On the other hand, they can also be smudges of the ink at the intersection of the stems and the beam.
In the 2nd half of the bar, there are 3 e-b-e1 chords in FCI. Small differences are also to be found in the R.H. – d1 is already on the 4th quaver in b. 65, while the bottom voice at the beginning of b. 66 is devoid of the c1 quaver.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 68-77

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

..

In FCI there is no d1 seventh in the chords in the 1st halves of b. 68 and 76 as well as in the 2nd half of b. 77.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes