Articulation, Accents, Hairpins
b. 44
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The staccato wedges, quite clear in A, were interpreted as dots in GE (→FE→EE); what is more, FE (→EE) only has the first dot printed. We give both wedges of A and suggest adding an analogous wedge over the last chord of the bar. category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in GE , Inaccuracies in FE |
|||||||||||
b. 44
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The marks in A are definitely accents, yet in GE they assumed the form of hairpins . Two accents of different length in FE are closer to the original notation of A than two identical (short) ones in EE. category imprint: Differences between sources issues: Inaccuracies in GE |
|||||||||||
b. 44
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The accents of A were probably omitted by mistake in GE1 (→FE→EE). However, Chopin did not supplement them when proofing FE, despite the fact that he was adding the lines lengthening cresc., in that bar and in the preceding bars he was supplementing other L.H. accents. As we cannot be sure of his ultimate intention, we give the accents in brackets and leave the decision to the performer. category imprint: Differences between sources issues: Inaccuracies in GE |
|||||||||||
b. 47
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The mark in A, although drawn in bold strokes, requires no correction here. In the editions it was suited to the quaver beam. category imprint: Differences between sources issues: Inaccuracies in GE |
|||||||||||
b. 49
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
Reproduction of the notation of A in the editions is inaccurate in two aspects: Chopin's long accent was reproduced as a short one and the marks and > were tied together, which may suggest the limited application of only to the right hand. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE |