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b. 60
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composition: Op. 27 No 1, Nocturne in C# minor
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Mistaken spelling of the word accelerando in GE (→EE) most probably stems from [A], cf. Impromptu in A category imprint: Differences between sources issues: EE revisions |
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b. 61-66
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composition: Op. 27 No 1, Nocturne in C# minor
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In GE the slur at the end of bar 65 points clearly to a continuation but there is not any in bar 66, first in a new system. A similar inaccuracy also occurs in an analogous situation in bars 73-74. Doubts about the compass of the slur are dispelled, in the editors' opinion, by the script in bars 69-70, where the slur reaches univocally the minim in bar 70. FE repeats literally the unclear GE notation. The slur in EE ends in bar 66. category imprint: Graphic ambiguousness; Differences between sources issues: EE revisions , Inaccuracies in GE |
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b. 64
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composition: Op. 27 No 1, Nocturne in C# minor
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In the editors' opinion, the placement of accents in GE does not necessarily reflect the notation of [A]. If Chopin wrote accents between the staves (like in the preceding bar) then the signs could overlap with the slur and Lack of signs in FE (→EE) is certainly a mistake.
category imprint: Interpretations within context; Differences between sources issues: Errors in FE |
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b. 67
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composition: Op. 27 No 1, Nocturne in C# minor
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Discrepancies in the marking of the first a category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Authentic corrections of FE |
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b. 67-68
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composition: Op. 27 No 1, Nocturne in C# minor
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Only GE has stretto in bars 67-68. It is difficult to decide whether it was removed from FE as intended by Chopin during proofreading or omitted by the engraver. For that reason the main text leaves the possible application of stretto up to the performer. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Authentic corrections of FE |
Op. 29, bars 
what in turn could prompt the engraver to shift them below the lower staff. Accents could also be placed on the lower staff below b
, as that type of notation is present in Chopin’s autographs. For that reason we suggest placing accents in a way that most probably is in keeping with Chopin's script or equivalent to it.
in 
) appears only in bar 75. In that context both markings mean the same, yet it is not clear whether Chopin ultimately wanted to change 
