Issues : Annotations in FES
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 accent added in FES completes the process of emphasizing the expressive significance of B double flat bass notes started by Chopin's corrections of FE in bar 18 and 20. category imprint: Differences between sources |
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b. 25
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composition: Op. 27 No 2, Nocturne in D♭ major
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The return of the first theme of the Nocturne in bar 26 was initially – in A (→GE→FE→EE) – preceded with a . mark. Chopin deleted it in FEJ and FES, and in FEFr Franchomme removed and written in . category imprint: Differences between sources; Corrections & alterations issues: Annotations in FES , Annotations in FEFr , Authentic post-publication changes and variants , Annotations in FEJ |
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b. 32
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composition: Op. 27 No 2, Nocturne in D♭ major
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Fingering written into GET may be considered to supplement the fingering of FES, therefore we give the two jointly. The fingering of GET may also be supplemented in another way: (3-2)-1-(3-2-1)-1. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Annotations in GET |
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b. 33
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composition: Op. 27 No 2, Nocturne in D♭ major
category imprint: Differences between sources issues: Annotations in FES |