mUltimate Chopin

Op. 28 No. 17, Prelude in A♭ major

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Page: 
Source: 
p. 3, b. 43-64
p. 1, b. 1-23
p. 2, b. 24-42
p. 3, b. 43-64
p. 4, b. 65-90
Main text
Main text
FCI - Fontana's copy I
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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FCI - Fontana's copy I
A - Autograph
FC - Fontana's copy
FE - French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz Copy
FES - Stirling copy
FESch - Scherbatoff copy
GE - German edition
GE1 - First German edition
GE2 - Revised impression of GE1
GE3 - Corrected impression of GE2
EE - English edition
EE1 - First English edition
EE1a - Corrected impression of EE1
EE2 - Revised impression of EE1a
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  b. 56

At the beginning of the bar, in FCI one can see a quaver dyad in the bottom R.H. voice. The top note is d2, while the pitch of the bottom note is poorly legible on the available photograph – it can be g1 or g1 transformed into a1. To our interpretation of FCI we adopt the latter, i.e. a self-correction of the copyist resulting in a1.

Compare the passage in the sources»

category imprint: Graphic ambiguousness

issues:

notation: Pitch

Missing markers on sources: A, FC, FE1, FE2, FED, FEJ, FES, FESch, GE1, GE2, EE1, EE2, FCI, GE3, EE1a
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