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Op. 27 No 2, Nocturne in D♭ major

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b. 26-30

composition: Op. 27 No 2, Nocturne in D♭ major

Without any slurs in A (→GE→FE→EE1)

Slurs added in EE3
..

In EE3 slurs in the left hand were arbitrarily added. Those slurs contradict the authentic slurs given in bar 1 as a pattern to be followed throughout the entire Nocturne.

category imprint: Differences between sources

issues: EE revisions

b. 26

composition: Op. 27 No 2, Nocturne in D♭ major

No dynamic indications in A (→GE→FE→EE)

 written into FED, FEJ and FES

 in FEFr
..

We adopt as binding the dynamic marking written by Chopin into all the three extant teaching copies. A similar dynamic concept for the return of the 1st theme was confirmed by Franchomme in FEFr.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic post-publication changes and variants

b. 26-27

composition: Op. 27 No 2, Nocturne in D♭ major

A more probable interpretation of the slur of A (→GE)

The slur of FE (→EE) corrected by Chopin.
..

The slur in A ends in the manner that allows for two interpretations: either the slur extends to the last note of bar  26 or to the a flat1 at the beginning of bar 27. The second interpretation, in our opinion being more likely, was adopted in GE. In the main text we give the slur in the version corrected by Chopin in FE (→EE).

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A , Authentic corrections of FE

b. 27-28

composition: Op. 27 No 2, Nocturne in D♭ major

 in A

GE1 (bar 27 opens a new line)

GE2

FE (→EE)

The editors’ proposal

 
..

None of the versions found in the sources can be treated as fully reflecting Chopin's intention. The notation of bars 26-28 in A – including   in bars 27-28 – seems quite untidy, and in GE1 and FE it is easy to point out at elements reproduced inaccurately or incorrectly. In our proposal we try to combine the least questionable elements of the notation of  A and FE (i.e. sources that can be considered the most authentic) to create a musically justified whole.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Errors in FE , Unclear hairpins in A

b. 27

composition: Op. 27 No 2, Nocturne in D♭ major

No tie sustaining a flat1 in A (→GE→FE)

A tie in FED, FES and FEFr, and also in EE
..

The ties written into FED, FES and FEFr point to Chopin’s probable mistake in A. In EE the tie was probably added by analogy with bars 3 and 47

category imprint: Differences between sources

issues: EE revisions , Errors of A