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Op. 27 No 2, Nocturne in D♭ major

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b. 71

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

The lower slur of A, interpreted in context

The lower slur in GE and EE

FE

A possible interpretation of the slur in FEJ
..

When read literally, the lower voice slur in A embraces just five semiquavers,  up to g flat2, which is probably one of quite many inaccuracies to be found in that part of the manuscript. In GE (and EE) the slur embraces six semiquavers, and in FE it reaches up to the crotchet e flat2, which seems most natural in the light of slurring of analogous motifs of the upper voice. The mark added in FEJ may, but does not necessarily have to, be a slur.

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

issues: Annotations in teaching copies , Inaccuracies in GE , Inaccuracies in FE , Inaccurate slurs in A , EE inaccuracies , Authentic corrections of FE , Annotations in FEJ

b. 71-73

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

..

In EE, a cautionary  was added before the 5th semiquaver g flat2, probably by analogy with bar 73.

category imprint: Differences between sources

issues: EE revisions , Cautionary accidentals

b. 72

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

Fingering entered into FEJ

No teaching fingering provided
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEJ

b. 72-74

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

..

Franchomme added a cautionary  before d flat2 at the beginning of bars 72 and 74 in FEFr. Those signs are routine editorial revisions and they do not seem necessary in that melodic and harmonic context; therefore, we consider them to be inauthentic additions to FEFr.

category imprint: Source & stylistic information

issues: Cautionary accidentals , Annotations in FEFr

b. 72

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

The slurs in A interpreted in context

The slurs in A, alternative interpretation

The slur in GE (→FE→EE)
..

A has two slurs in that bar, over and under the R.H. part, yet none of them allows one to clearly read the composer's intention regarding phrasing. We give the two most probable interpretations of those slurs. GE →FE→EE have the upper slur only.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A