Articulation, Accents, Hairpins
b. 51
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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. 52
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composition: Op. 27 No 2, Nocturne in D♭ major
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Disregarding A, the hairpins in GE (→FE→EE) were stretched to fill all the available space between con forza at the beginning of the bar and the hairpins at the end, surely contrary to Chopin's intention. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
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b. 53
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composition: Op. 27 No 2, Nocturne in D♭ major
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It is not clear whether the accent over b flat1 in A is a long or a short one. We tend to favour the latter option, contradictory to the manner in which it was interpreted in GE (→FE→EE). The second accent in that bar, under b flat2, is clearly a long one in A and in a sense also in GE, in which it has the form of a short diminuendo. In FE (→EE) nobody paid attention to the length of those signs and both accents were given as ordinary short ones. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents |
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b. 54
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composition: Op. 27 No 2, Nocturne in D♭ major
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A long accent from A was interpreted in GE (→FE→EE) as half-bar long hairpins . The comparison with the analogous bar 56 resolves any possible doubts as to the meaning of that sign. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Scope of dynamic hairpins |
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b. 54
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composition: Op. 27 No 2, Nocturne in D♭ major
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The hairpins in A may be considered slightly too short (which is difficult to notice in practice with the narrowed notation of A). Still. Chopin could not have intended a half-bar mark visible in GE (→FE→EE). category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A |