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b. 51
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composition: Op. 27 No 2, Nocturne in D♭ major
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We add a cautionary category imprint: Editorial revisions |
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b. 51-52
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composition: Op. 27 No 2, Nocturne in D♭ major
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A has naturals before the 5th note from the end in bar 51 and the 3rd note of bar 52, which makes them, respectively, c3 and c4. These naturals were most probably added by a foreign hand (perhaps the reviewer of GE1). Initially, A had only category imprint: Interpretations within context; Differences between sources |
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b. 51-52
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composition: Op. 27 No 2, Nocturne in D♭ major
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The slur over the run in bar 51 clearly reaches the first b3 of bar 52 in A. Nonetheless, it was reproduced in the editions as not extending beyond bar 51. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 52
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composition: Op. 27 No 2, Nocturne in D♭ major
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The numbers entered into FES probably mean the same fingering as that written out in by Chopin in FED. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Annotations in FES |
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b. 52
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composition: Op. 27 No 2, Nocturne in D♭ major
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The indication con forza occurring in A (→GE>FE→EE) was deleted by Chopin in FEJ and FES, and removed by Franchomme from FEFr. We perceive those actions as the part of the radically altered concept for the dynamics in that part of the Nocturne (see bars 49-50). We also suggest the possibility of taking into account the somewhat unclear entry in FEJ. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FES , Annotations in FEFr , Authentic post-publication changes and variants , Annotations in FEJ |
before c2.
for c flat4 in bar 52)
3 and c
