mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

Text Compare Notes Sources Description

Issues : Abbreviated notation of A

b. 1-2

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

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To write down these bars in A, Chopin used repeat marks – / to mark the L.H. part in the 2nd half of b. 1 and •/• in b. 2. In FC repeat marks were used only in b. 2. The highest number of repeat marks is to be found here in FCI – all those visible in A as well as / instead of the R.H. part in the 2nd half of b. 1.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 4-18

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

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The majority of the groups of repeated quavers were written in A (→FC→GE) as dotted crotchets provided with quaver tremolos. In A this is how the L.H. in the 2nd half of b. 4, 5, 7, 10-13 and 18 and the R.H. in the 2nd half of b. 10 were marked. A similar situation occurs in FC (→GE) – except b. 18. Such notation is not observed at all in FCI.

category imprint: Source & stylistic information

issues: Abbreviated notation of A

b. 27-42

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

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As before, in A (→FC→GE) the majority of the groups of repeated quavers were written as dotted crotchets or minims provided with quaver tremolo marks. In A this is how the L.H. in b. 32-33 and in the 2nd halves of b. 27-31, 36-37 and 42 and the R.H. in the 1st half of b. 32 and in the 2nd halves of b. 27, 29, 31, 33-34 and 42 were marked. There is a similar situation in FC (→GE) – except b. 36, while in GE also except b. 27. In addition, in FC (→GE1) the tremolo beam in b. 33 was overlooked – see the note in that bar.

category imprint: Differences between sources; Source & stylistic information

issues: GE revisions , Abbreviated notation of A , Errors of FC

b. 43-64

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

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In the manuscripts and in GE, repeating elements – chords, groups of quavers, bars – are written down with the use of various abbreviations.
In FCI b. 60-61 are marked with letters a, b as a repetition of b. 58-59; the groups of quavers in the 2nd half of b. 62 are marked with / signs, while b. 63-64 with •/• as a repetition of b. 62.
In A (→FC) the groups of repeated quavers are written down as dotted crotchets or minims with quaver tremolos; in turn, to mark b. 64 •/• signs were used. Tremolos are to be found in the 2nd halves of b. 43, 47, 57 and 59-61 and in b. 62-63. In FC a tremolo is also in the 2nd half of b. 58.
In GE the •/• signs and some tremolos were expanded. Abridged notation (tremolos) was kept in b. 43, 47 and 62-64.

category imprint: Differences between sources; Source & stylistic information

issues: Abbreviated notation of A , Fontana's revisions

b. 66-89

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

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As before, in the manuscripts and in GE various abbreviations of notation were often used.
In A (→FC→GE) Chopin wrote down the majority of the groups of repeated quavers as dotted crotchets or minims provided with quaver tremolos. Such a notation is to be found in A (→FC) in b. 66 (L.H. only), 67-70, 72, 74 (L.H. only), 75-83 and in the L.H. only in b. 85 and 88-89. In addition, in FC there is a tremolo in b. 71. In GE all tremolos of FC were repeated except b. 88-89. Apart from tremolos, Chopin used in A (→FC) also •/• signs to mark b. 87 as a repetition of the previous one.
FCI used only / signs to mark repeating 3-quaver groups. It can be seen in b. 66, 74 and 89 and in the L.H. only in b. 72, 80 and 88. •/• signs were used to mark b. 85 and 87.

category imprint: Source & stylistic information

issues: Abbreviated notation of A