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b. 5-13

composition: Op. 27 No 1, Nocturne in C# minor

GE (→FE→EE): semiquaver after the last note of the triplet

Notation in keeping with Chopin's understanding of this figure
..

In bar 5 in GE (→FE→EE) the semiquaver in the figure  is moved to after the third note of the triplet in the accompaniment, similarly in bars 9, 11 & 13. This inauthentic notation, misleading for the performer, was used throughout the Nocturne – cf. bars 15, 51, 88, 89.

See the chapter devoted to this topic in: Jan Ekier, Introduction to the National Edition, Editorial Issues.

category imprint: Interpretations within context

issues: GE revisions , Dotted rhythms and triplets

b. 5

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

A long accent in A (→GE2) and FE

A short accent in GE1 and EE
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The accent over a1 is doubtless a long one in A; this is testified by the change made in GE2 (probably after a repeated analysis of A). The sign in FE is not quite clear, yet it resembles a long accent more than a short one. In spite of that, EE has a short accent over the note in question.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in GE

b. 5

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

g in GE (→FE→EE)

a in A
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The last note of A (a), probably erroneous, was corrected to g flat in GE (→FE→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Errors of A , Accompaniment changes , Authentic corrections of GE

b. 5

composition: WN 55, Waltz in F minor

 
 
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Almost all sources feature two b-c1-g1 chords. In AK, on the 3rd beat there is a crotchet rest instead of the chord.

category imprint: Differences between sources

b. 5

composition: WN 55, Waltz in F minor

 
 
..

The short grace note, varying the melodic line, is present in three autographs (AO, AR, AK) and in F. In the remaining sources, the ornament is absent.

category imprint: Differences between sources