Issues : Accompaniment changes
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b. 18
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composition: Op. 27 No 2, Nocturne in D♭ major
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When proofing FE, Chopin made the notation of the accompaniment more precise - cf. bar 20. In EE, the long accent was arbitrarily replaced with a vertical one. category imprint: Differences between sources; Corrections & alterations |
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b. 19
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composition: Op. 27 No 2, Nocturne in D♭ major category imprint: Differences between sources; Corrections & alterations |
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b. 20
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composition: Op. 27 No 2, Nocturne in D♭ major
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Chopin's correction of FE. category imprint: Differences between sources; Corrections & alterations |
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b. 25
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composition: Op. 27 No 2, Nocturne in D♭ major
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In A, the third, sixth and ninth semiquavers form a tenor line e flat-d flat-c. That detail was not repeated in GE, which has e flat in all those places. In the proofing of FE (→EE1) Chopin returned to the version of A, the relevant change was also made in GET. The version of GE was introduced into EE3. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , EE revisions , Chopin's hesitations , Errors in GE , Accompaniment changes , Authentic corrections of FE , Annotations in GET |
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b. 25
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composition: Op. 27 No 2, Nocturne in D♭ major
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The change of the last note from e flat to A flat is definitely the result of Chopin's proofing of FE. That correction was also made in GET. The return to e flat in EE3 is an arbitrary revision made in that edition (on the basis of GE). category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Accompaniment changes , Authentic corrections of FE , Annotations in GET |
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