mUltimate Chopin

Op. 28 No. 19, Prelude in E♭ major

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Pitch

b. 33

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

e1 in A (→FC→GE1, →FE→EE)

g1 in GE2 (→GE3)
..

The legitimacy of the revision of GE2 is questionable – see b. 1.

category imprint: Differences between sources

issues: GE revisions

b. 35

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

..

As was the case in b. 3 and 11, there is no  raising b to b in A (→FC,FE). The accidentals were added in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE

b. 40

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

..

In the main text we add cautionary flats before the 3rd L.H. quaver (a) and the 6th R.H. quaver (a1). The R.H. accidental was also added in GE and EE.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 43-44

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

..

In the main text we add cautionary accidentals:  before b and  before g2 at the end of b. 43 and  before e,  before g and  before b1 in b. 44. Both accidentals in b. 43 were already added in EE. The flat before e in b. 44 was in A in the initial, crossed-out version of the L.H. part in that bar.

category imprint: Differences between sources; Editorial revisions; Source & stylistic information

issues: EE revisions , Cautionary accidentals

b. 43-44

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

..

These bars underwent numerous corrections in A. In b. 43 Chopin changed single notes – he moved the 2nd and 5th R.H. quavers a minor third higher (c2→e2 and c2→d2) as well as the 3rd, 6th and 9th L.H. quavers (e→g, f→a and g→b).
In b. 44 the 2nd and 5th R.H. quavers were also changed (a1→c2 and a1→b1), whereas the L.H. part and the 3rd R.H. triplet were completely crossed out after individual corrections and rewritten on adjacent staves. The below reconstruction shows a likely interpretation of the crossed-out version. The small noteheads in brackets indicate the notes that were effaced before the decision to rewrite the whole. The illustration is supplemented by the first 2 R.H. triplets that were not rewritten as a whole, with individual corrections marked in a similar manner: 

category imprint: Corrections & alterations; Source & stylistic information

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