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Op. 27 No 2, Nocturne in D♭ major

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Articulation, Accents, Hairpins

b. 7

composition: Op. 27 No 2, Nocturne in D♭ major

No in A (→GE→FE)

Hairpins added in EE

The editors' suggestion
..

Supplementing of the authentic text with  , in line with the analogous bar 31, seems to improve the legibility of the natural dynamic shaping of that phrase. A similar addition was already made in EE.

category imprint: Differences between sources; Editorial revisions

b. 7-8

composition: Op. 27 No 2, Nocturne in D♭ major

in A

GE

FE (→EE)

The editors' suggestion
..

The sign from A was inaccurately reproduced in GE as clearly shorter on its right side. In FE (→EE) the hairpins were moved, which was most probably connected with the changes of the melody contour introduced by Chopin. In our proposal we combine the two approaches, giving the left-hand side of the hairpins after  FE as better matching the changed melody line with the right-hand side of the hairpins after A  reaching suggestively the culminating point.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE

b. 9

composition: Op. 27 No 2, Nocturne in D♭ major

A long accent in A

A short accent in GE (→FE→EE)
..

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 10

composition: Op. 27 No 2, Nocturne in D♭ major

and espressivo in A

GE

FE

EE

Our suggestion based on A
..

The hairpins in A have the upper arm much longer than the lower one, yet the beginning of that sign is clearly linked with the second quaver of the bar. In GE the hairpins were matched to the beam, which was reproduced (with slight inaccuracies) in FE and EE.

We place the indication espressivo above the upper staff, not to interfere with  .

category imprint: Graphic ambiguousness; Differences between sources

issues: Unclear hairpins in A

b. 10

composition: Op. 27 No 2, Nocturne in D♭ major

 A, upper arm

GE (→FE→EE)
..

The point where the mark begins in A is difficult to define, as its upper arm is clearly longer than the lower one. In GE, the upper arm reaching the beginning of the 2nd half of the bar was considered decisive; this is consistent with the general sign interpretation tendency in that edition. Hairpins of that length were also reproduced, with slight inaccuracies, in FE and EE. However, in the editors' opinion, the starting points of both marks in that bar were supposed to highlight the highest notes of the melody (cf. the previous remark).

category imprint: Graphic ambiguousness; Differences between sources

issues: Unclear hairpins in A