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b. 69
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composition: Op. 27 No 2, Nocturne in D♭ major
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The accent in A should be considered a long one, as it is clearly bigger than the short accents from previous bars. In GE (→FE→EE) that difference was not made visible. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |
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b. 69
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composition: Op. 27 No 2, Nocturne in D♭ major
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In the second part of the bar, EE has wedges instead of dots appearing under the slur in A (→GE→FE). This is probably an arbitrary change. category imprint: Differences between sources issues: EE inaccuracies |
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b. 69
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composition: Op. 27 No 2, Nocturne in D♭ major
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A horizontal line that can be seen in A after the indication dim. is certainly meant to suggest the extent of that dynamic marking; we give dashes that are usually used for the purpose. In GE (→FE→EE) that marking was omitted. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 69-75
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composition: Op. 27 No 2, Nocturne in D♭ major
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All the recurring figures of the accompaniment were written by Chopin in A in an abbreviated form as //. Cf. bars 27-30. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 70
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composition: Op. 27 No 2, Nocturne in D♭ major
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Under the semiquaver figure in the second half of the bar A has a slur embracing 5 or 6 semiquavers. That slur could also link the minim d flat2 of the lower voice with c2 at the beginning of the subsequent bar. In the editors' opinion, it is more likely that the slur related to the upper voice and became unnecessary when a new slur was added above, running over the entire motif and reaching the crotchet a flat2 in bar 71. In the editions, the slur extends over 6 semiquavers. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
