b. 58
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composition: Op. 27 No 2, Nocturne in D♭ major
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The mark in A may give rise to certain slight doubts as far as its starting point is concerned. We adopt the simplest solution. In GE (→FE→EE) the mark is visibly longer, which is the regular tendency of the engraver of GE1. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A |
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b. 58
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composition: Op. 27 No 2, Nocturne in D♭ major
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FEJ has octave signs (8) written and crossed out under the1st and the 7th quaver. Those signs were probably mistakenly written one bar too early. category imprint: Corrections & alterations; Source & stylistic information |
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b. 59-60
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composition: Op. 27 No 2, Nocturne in D♭ major
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In the three teaching copies, the bass notes in bar 59 were doubled with lower octaves. In FES the octave progression is consistently brought to the beginning of bar 60. In our opinion this means that Chopin considered the version with the octaves at least equivalent to the version of A (→GE→FE→EE), in which single notes appear. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ , Bass register changes , Abbreviated octaves' notation |
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b. 59
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composition: Op. 27 No 2, Nocturne in D♭ major
category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 59
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composition: Op. 27 No 2, Nocturne in D♭ major
..
What was undoubtedly a long accent in A was printed in the editions as a short one. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |