Issues : EE revisions
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b. 33-36
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composition: Op. 27 No 1, Nocturne in C# minor
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FE omits the dashed line that marks the extent of the poco a poco crescendo. It is almost certainly a mistake, a rather frequent one in this edition (cf. notes to bar 41). EE supplemented the FE notation with dots linking particular words of the indication. This is certainly an arbitrary addition. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 46
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composition: Op. 27 No 1, Nocturne in C# minor
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The lack of slur in FE (→EE1→EE2) is most probably the result of an oversight of the engraver. EE3 added a slur probably after GE1. category imprint: Differences between sources issues: EE revisions , Errors in FE |
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b. 51
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composition: Op. 27 No 1, Nocturne in C# minor
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In GE (→FE) notes of the R.H. rhythm category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Dotted rhythms and triplets |
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b. 53-64
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composition: Op. 27 No 1, Nocturne in C# minor
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GE encompasses the L.H. part in bars 53-64 with one slur running through three lines of text. There is no reason to doubt that this notation conforms with the one in [A]. Most probably due to engraver's carelessness FE shows inaccuracies in slurs notation at the changes of systems. osources contain inaccuracies related to the beginnings and endings of the slur in the left hand extended over 3 systems within bars 53-64. We adopt the notation of GE as the one that seems the most justified from the musical point of view. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE |
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b. 54-60
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composition: Op. 27 No 1, Nocturne in C# minor
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FE omitted first few segments of a dashed line linking particular words in the indication poco a poco cresc. ed accelerando in bars 54-60. EE filled up the line. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE |
are distributed in such a way that the quaver is aligned with the 6th L.H. note. In the editors' opinion, this probably does not reflect Chopin's intention but we cannot state it definitely without [A]. The rhythmical structure of the bar, different e.g. from that in bars 29-36 & 53-62, as well as the local climax ending in this bar make a possible exception slightly more likely here. In the main text, we apply the regular rhythmic notation, so did 
