mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

Text Compare Notes Sources Description

Issues : Deletions in A

b. 1

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

..

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

..

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. 19

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

f1 in FCI

f1 in A (→FC→GE, →FE→EE)
..

In the version prepared for print, the top note of the chord on the 5th quaver in the bar, interpreted literally, is an f1, since it is not accompanied by a relevant accidental in this bar. The following arguments prove that it was almost certainly Chopin's mistake:

  •  put before that note in FCI, confirming the authenticity of the version with f1,
  • presence of e1 (played with the L.H.) in that chord,  which, together with f1, would result in an unpleasant cluster – cf. b. 21, in which Chopin avoided a similar cluster by omitting g1.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Omission of current key accidentals , Errors of A , Deletions in A

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