Pitch
b. 60-61
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
The traces of erasing visible in A still allow us to decipher that initially the 4 bass notes in those bars had been A flat-A flat-A flat-A flat1. Eventually Chopin changed them in A to A flat1-A flat-A flat1-A flat. Cf. similar alterations of the same notes in the Polonaise in C sharp minor Op. 26 no. 1, bars 45 and 52-53. Cf. later overlapping changes in teaching copies. category imprint: Corrections & alterations issues: Corrections in A , Accompaniment changes |
|||||
b. 63
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
We add a cautionary before g flat. category imprint: Editorial revisions |
|||||
b. 64
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
A has no flats before the last notes of both hands which, given the presence of naturals in the 1st half of the bar, results in e2 and e. There are many arguments pointing to the conclusion that the omission of those flats by Chopin was an oversight. The flat restoring e flat2 was added in GE (→FE→EE), perhaps on the composer's request. We add the necessary restoring e flat; that sign was also supplemented in GE2. category imprint: Differences between sources; Editorial revisions issues: Omissions to cancel alteration , GE revisions , Authentic corrections of GE |
|||||
b. 64
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
In FE (→EE) a cautionary was added before d flat1, probably requested by Chopin. Bar 68 was supplemented in the same manner. category imprint: Differences between sources issues: Cautionary accidentals , Authentic corrections of FE |
|||||
b. 65
|
composition: Op. 27 No 2, Nocturne in D♭ major
..
Before the last semiquaver A (→GE→FE→EE) has a cautionary (?) before g flat2. We remove that sign, as being unnecessary in that context. category imprint: Editorial revisions |