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b. 8
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composition: Op. 27 No 2, Nocturne in D♭ major
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In FED, Chopin marked the altered phrasing of a group of semiquavers in a manner that is typical of him. One often comes across vertical lines signifying change of phrasing in teaching copies, e.g. in Impromptu in G flat major Op. 51, bars 32, 37, 89 & 91. category imprint: Differences between sources |
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b. 8
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composition: Op. 27 No 2, Nocturne in D♭ major
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A bears the traces of correcting the fifth and the sixth semiquaver of the left hand from e flat1-g flat to d flat1-e flat. category imprint: Corrections & alterations issues: Corrections in A , Accompaniment changes |
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b. 8
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composition: WN 55, Waltz in F minor
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In AK, the first quaver in the R.H. is written separately. Such a way of notation was certainly aimed at highlighting the ending of the music phrase and the beginning of a new one - leading to the main theme of the waltz in a new key - parallel - in bar 9. category imprint: Interpretations within context; Differences between sources |
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b. 8
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composition: WN 55, Waltz in F minor
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In CC, there is no natural next to e category imprint: Differences between sources; Editorial revisions |
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b. 8
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composition: WN 55, Waltz in F minor
category imprint: Differences between sources |
1 - it is one of a few mistakes-oversights of the copyist in that source.
