mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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Issues : Main-line changes

b. 32

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

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In FCI d2 is played already at the beginning of this bar. According to us, the version cannot be considered a variant for the final text, since the top voice rhythm is a natural consequence of the length of the phrase, which in FCI is one bar longer than in the version prepared for printing – see the previous note.

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

issues: Main-line changes

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. 43

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

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In A one can see that Chopin initially wrote the mordent with a conventional  mark. In the grace notes added instead of , the  before c2 merged with the arpeggio sign, resulting in a mark resembling a . Consequently, in FE (→EE1) the 2nd grace note is c2. Chopin reacted to this mistake in FES by adding a  in pencil (which Miss Stirling later wrote in ink). The correct text is also to be seen in EE2, probably on the basis of GE1.

In this place, FCI includes an earlier version – there are no ornaments on the 4th quaver in the bar, while b1 is linked with a tie to the dotted crotchet at the beginning of the bar.

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

issues: Annotations in teaching copies , EE revisions , Errors in FE , Corrections in A , Errors resulting from corrections , Deletions in A , Annotations in FES , Main-line changes , Inaccuracies in A

b. 47

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

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At the beginning of the bar FCI includes a chord containing both the g2 melodic note (not tied) and the continuation of the accompanying voices – g1-b1-e2.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 47

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

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In FCI there are no ornaments before the 4th R.H. quaver. Moreover, from the 2nd quaver on, the R.H. part is written down using two-part notation – melody in the top voice, while dyads in the bottom one.

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

issues: Main-line changes