Issues : Authentic corrections of FE
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b. 22
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composition: Op. 27 No 2, Nocturne in D♭ major
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Correcting in FE the incomplete articulation markings for the left hand part taken over from GE1, Chopin changed his concept in that respect. The additions made in EE3 and GE2 are editors' corrections, although they make use of authentic markings. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Errors in GE , Authentic corrections of FE |
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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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b. 25-27
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composition: Op. 27 No 2, Nocturne in D♭ major
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The earlier beginning of the slur in GE is probably the example of reading the manuscript markings in a certain manner characteristic for GE. Connecting that slur with the next one in FE (→EE) must be the result of Chopin's correction of FE. category imprint: Differences between sources; Corrections & alterations |
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b. 26-27
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composition: Op. 27 No 2, Nocturne in D♭ major
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The slur in A ends in the manner that allows for two interpretations: either the slur extends to the last note of bar 26 or to the a flat1 at the beginning of bar 27. The second interpretation, in our opinion being more likely, was adopted in GE. In the main text we give the slur in the version corrected by Chopin in FE (→EE). category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations |
