mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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Issues : Bass register 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

b. 50-51

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

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In FCI the structure of all the accompanying quavers in b. 50 (from the 2nd to the 6th) is similar – 3 notes each in the part of each of the hands, hence c2 is present in all R.H. chords, while the chromatic step of the bass from the 4th quaver in b. 50 to the 1st quaver in b. 51 is not doubled in the bottom octave.

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

issues: Accompaniment changes , Bass register changes

b. 59-61

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

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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