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b. 11
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composition: Op. 27 No 2, Nocturne in D♭ major
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In the editors' opinion, the accents of A at the beginning of the first and the second half of the bar should be interpreted as the long ones. In GE (→FE→EE) ordinary short accents were put in those places. category imprint: Differences between sources |
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b. 11
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composition: Op. 27 No 2, Nocturne in D♭ major
category imprint: Differences between sources |
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b. 11
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composition: Op. 27 No 2, Nocturne in D♭ major
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Both notes of the fifth b flat1-f2 are linked with a stem in A , which is most probably what remained from the initial single-voice version of the notation of that fragment. A also bears traces of correction of the lower note from a1 to b flat1. category imprint: Interpretations within context; Corrections & alterations issues: Corrections in A |
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b. 11
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composition: Op. 27 No 2, Nocturne in D♭ major
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The deletions visible in A point to Chopin's corrections in the 2nd part of the bar. Most probably the composer altered the graphic layout of the semiquaver beam and changed the last note from f to a. category imprint: Corrections & alterations issues: Corrections in A , Accompaniment changes |
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b. 11
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composition: Op. 27 No 2, Nocturne in D♭ major
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In the edited text we give the most natural reading of the slur of A. The slur in GE may be considered as its less natural interpretation. The concordance of the slur added in EE3 with the slur in A is accidental, as the corrections of that edition [EE] had GE as the starting point. In FE the last two triplets of the R.H. semiquavers were mistakenly placed over the three last notes of the left hand part. FES has signs written into the score that indicate the correct synchronisation of both hands. category imprint: Differences between sources issues: EE revisions , Errors in FE , Inaccuracies in GE |
