|
b. 21
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The engraver of GE rendered the wedge from A as a dot. That sign is very poorly visible in FE; this may be due to faulty printing (cf. bar 1), but it is more probable that Chopin removed the dot while proofing FE (→EE). category imprint: Differences between sources |
||||||||
|
b. 22
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
Distortion of Chopin's notation resulted from the fact that the musical notation of the day did not have a separate "long accent" category and therefore a relevant standardized sign did not exist. The fact that the sign was placed under the staff is nonetheless strange, as this was not typical for the editorial practices of those times. category imprint: Differences between sources issues: Long accents |
||||||||
|
b. 22
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
Correcting in FE the incomplete articulation markings for the left hand part taken over from GE1, Chopin changed his concept in that respect. The additions made in EE3 and GE2 are editors' corrections, although they make use of authentic markings. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Errors in GE , Authentic corrections of FE |
||||||||
|
b. 22
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The authenticity of the dynamic marking given by Franchomme does not give rise to any major doubt, and we take it into consideration as one of the possible interpretations of that fragment. category imprint: Differences between sources issues: Annotations in FEFr |
||||||||
|
b. 22-24
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
Beginning the slur from the crotchet e flat2 in the middle of bar 22 is not precisely notated in A, but in this context it is doubtless. Nonetheless, in GE (→FE→EE) the slur begins from the next bar (which, due to sustained e flat2 , has no practical meaning anyway). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
