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b. 25
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composition: Op. 27 No 2, Nocturne in D♭ major
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The change of the last note from e flat to A flat is definitely the result of Chopin's proofing of FE. That correction was also made in GET. The return to e flat in EE3 is an arbitrary revision made in that edition (on the basis of GE). category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Accompaniment changes , Authentic corrections of FE , Annotations in GET |
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b. 25
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composition: Op. 27 No 2, Nocturne in D♭ major
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The pedal use in GE (→FE→EE) probably results from inaccurate reconstruction of the notation of A. Still, Chopin did not change it, only corrected the contour of the accompaniment in that bar, which may mean that he considered that pedalling acceptable. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 25
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composition: Op. 27 No 2, Nocturne in D♭ major
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The return of the first theme of the Nocturne in bar 26 was initially – in A (→GE→FE→EE) – preceded with a category imprint: Differences between sources; Corrections & alterations issues: Annotations in FES , Annotations in FEFr , Authentic post-publication changes and variants , Annotations in FEJ |
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b. 25-27
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composition: Op. 27 No 2, Nocturne in D♭ major
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The earlier beginning of the slur in GE is probably the example of reading the manuscript markings in a certain manner characteristic for GE. Connecting that slur with the next one in FE (→EE) must be the result of Chopin's correction of FE. category imprint: Differences between sources; Corrections & alterations |
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b. 25
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composition: Op. 27 No 2, Nocturne in D♭ major
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The placement of the indication ritenuto in A is somewhat problematic. We position that indication so that its beginning and its end are placed under the correct notes of the right hand. category imprint: Graphic ambiguousness |
in the middle of the semiquaver grouping in 
written into 
. mark. Chopin deleted it in 
