b. 7-8
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
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. 7
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
Correcting FE, Chopin somewhat changed the contour of the melody in that bar. The earlier sources—A (→GE)—have a repeated e flat2 at the beginning of the second half of the bar and a turn between that quaver and the next one. In the later sources, FE (→EE), the note e flat2 is tied and the turn is removed. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Turn |
|||||||||
b. 7
|
composition: WN 55, Waltz in F minor
..
PE, as the only source, has a different grouping of quavers in the R.H. - it is not confirmed by the preserved autographs. category imprint: Differences between sources; Editorial revisions |
|||||||||
b. 7-8
|
composition: WN 55, Waltz in F minor
..
In F, the lowest voice in the L.H. descends until B1. The stylistic authenticity of such a solution is questionable - it is continued neither in the next phrase nor in the further course of the piece. Enhancing or lowering the bass line was one of Fontana's most frequent interferences in the works by Chopin he edited. category imprint: Interpretations within context; Differences between sources |
|||||||||
b. 7
|
composition: WN 55, Waltz in F minor category imprint: Differences between sources |