mUltimate Chopin

Op. 28 No. 19, Prelude in E♭ major

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b. 62-63

composition: Op. 28 No. 19, Prelude in E♭ major

3 crotchets in A

2 crotchets in FC

No crotchets in FE (→EE) & GE
..

The crotchet stems, separating the sequence of the middle L.H. voice in A, were not reproduced correctly in any of the remaining sources. In the main text we give the notation of A.

category imprint: Differences between sources

issues: Errors in FE , Errors in GE , Inaccuracies in FC

b. 69-71

composition: Op. 28 No. 19, Prelude in E♭ major

No sign in A

in FC & FE

 in GE

   in EE
..

The  asterisk, added both in FC (→GE) and FE (→EE), cannot be authentic. The notation of A implies that the pedal depressed on the 3rd beat of b. 68 should be held to the end of the Prelude; moreover, both the sonic effect of such pedalling and no final  mark are typical of Chopin and are to be found in the endings of a number of his compositions. The individual sources slightly differ in the placement of this , hence we assume that there are two slightly different versions.
The pedalling in the last bar is an arbitrary revision of EE.

category imprint: Differences between sources

issues: EE revisions , FE revisions , Fontana's revisions

b. 70

composition: Op. 28 No. 19, Prelude in E♭ major

..

The crossings-out in this bar show that Chopin was looking for the right way to end the Prelude. Among the crossed-out elements, one can distinguish:

  • arpeggios before the R.H. and L.H. chords,
  • e-b-e1 crotchet chord on the bottom stave (interpreted in the bass clef),
  • g-b third on the bottom stave (interpreted in the treble clef). Perhaps Chopin started writing the g-b-e1-g1 chord, yet decided to place it an octave higher.

See also the note in the next bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 71

composition: Op. 28 No. 19, Prelude in E♭ major

..

The crossings-out in A allow us to partially decipher the initial notation of the final bar, in which we can see a removed grace note and a curved line: . However, if we were to take into account also the differences in the shape and shade of the noteheads, which indicate that the three minims in the chord were added later, the version could have looked as follows: . Cf. the ending of the Prelude No. 22 in G Minor.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes , Main-line changes