mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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Pedalling

b. 5

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

..

EE overlooked the  sign.

category imprint: Differences between sources

issues: Errors in EE

b. 20

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

..

In A one can see that Chopin initially wrote here a longer, whole-bar pedal.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 24-25

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

2  in A

2   in FC (→GE) & FE (→EE)
..

The version of A – without  asterisks in the second halves of the bars – seems to be intended by Chopin, who crossed out the  under the 6th quaver in b. 24. However, one cannot rule out the composer's mistake – the crossing-out means that the  placed analogously to the one in the 1st half of the bar is wrong, since the entire 2nd half is based on one chord (D major). Chopin could have planned to add it somewhere else, probably later, which he, however, did not do due to distraction. Due to the above reason, in the main text we give the pedal markings as supplemented by Fontana both in FC (→GE) and FE (→EE).

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

issues: Deletions in A , FE revisions , Fontana's revisions

b. 37-42

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

No markings in A (→FE1,FC→GE)

Pedalling in FE2 (→EE)
..

The pedal markings added to FE2, probably by Fontana, are a repetition of the authentic pedal markings in analogous b. 5-10 (omission of b. 36 is most probably an oversight). Chopin would often omit pedal markings in repeating fragments in which he had already indicated them the first time, e.g. in b. 11-17, hence we do not include them in the main text.

category imprint: Differences between sources

issues: FE revisions

b. 54

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

 under 3rd quaver in A (→FC→GE)

 under 2nd quaver in FE (→EE)
..

Chopin prolonged pedal in this place, which is proven by  having been crossed out at the end of b. 53 (which we can see in A). The composer's intention was distorted in FE (→EE) by placing the mark a quaver earlier. A similar shift of the  mark (for the pedal to encompass the first octave of the chromatic bass sequence) can also be seen in A in b. 50.

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

issues: Inaccuracies in FE , Corrections in A , Deletions in A