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b. 16
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composition: Op. 27 No 2, Nocturne in D♭ major
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The tight spacing in GE seems to be the reason for increasing inaccuracies in the extent of the hairpins category imprint: Differences between sources issues: Inaccuracies in FE , EE inaccuracies |
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b. 16
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composition: Op. 27 No 2, Nocturne in D♭ major
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In EE, this bar opens a new page. The addition of slurs in the left hand was probably meant to remind the performer about the authentic markings given in bar 1 as a model for the entire Nocturne. category imprint: Differences between sources issues: EE revisions |
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b. 16
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composition: Op. 27 No 2, Nocturne in D♭ major
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The meaning of the line drawn in FES linking the 6th third a flat2-c flat3 with the 3rd semiquaver of the left hand is unclear. Similar signs are most often employed to show the correct synchronization of both hands, yet in this case this would be a considerable alteration of the rhythm, not merely a more detailed explanation. category imprint: Interpretations within context; Differences between sources issues: Annotations in teaching copies , Synchronization markings , Annotations in FES , Authentic post-publication changes and variants |
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b. 17
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composition: Op. 27 No 2, Nocturne in D♭ major
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The first one of several corrections made by Chopin in the accompaniment in that movement of the Nocturne, introduced to FE. Cf. bars 19 and 25, as well as changes and additions in bars 18-22. category imprint: Differences between sources; Corrections & alterations |
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b. 17
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composition: Op. 27 No 2, Nocturne in D♭ major
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Visible in A is the deletion of the tie sustaining the grace note f2.The change introduces a uniform performance of all the similar figures in bars 12, 16, 54 & 56. category imprint: Corrections & alterations issues: Corrections in A |
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