mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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Issues : Corrections in A

b. 1

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

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In A one can see that Chopin initially wrote  to mark the time signature on both staves. Moreover, the eventually left 6/8 reveal (also on both staves) minor crossings-out, which seem to be digits preceding the digits 6, although it is difficult to guess what their meaning could be. Anyways, it is an example of Chopin's hesitation, since the time signature in FCI, which was written earlier, is 6/8, like the final version.

category imprint: Corrections & alterations; Source & stylistic information

issues: Changes of metre , Corrections in A , Chopin's hesitations , Deletions in A

b. 19-23

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

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In A one can see in these bars crossings-out of dynamic hairpins –  in b. 19, 20, 2nd half of b. 21 and in b. 22 and   in the 1st half of b. 21 and in b. 23. See also b. 24-25.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 20

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

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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

in FCI

dim. - - - in A (→FC→GE, →FE→EE)
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The  marking represents an earlier, less developed dynamic concept – the next indication in FCI would be the whole-bar  mark over the R.H. part in b. 32, in the final version replaced with a long accent in the middle of that bar. In A, in the discussed bars, Chopin initially wrote other markings too – two more or less whole-bar  marks. 

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

issues: Corrections in A , Deletions in A

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