Issues : Authentic post-publication changes and variants
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b. 49
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composition: Op. 27 No 2, Nocturne in D♭ major
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The sense and authenticity of this sign in FED is doubtless, yet due to the much more powerful and longer-sounding bass register of contemporary pianos this variant may only be used with utmost caution. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants , Bass register changes , Abbreviated octaves' notation |
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b. 49-50
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composition: Op. 27 No 2, Nocturne in D♭ major
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We perceive the indication in bar 50, added by Chopin in the three teaching copies and written into FEFr, to be part of a definitive change of the dynamic concept in several fragments of the Nocturne (cf. bars 25-26, 45-46, 52). The noted by Franchomme in FEFr naturally supplements that change. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Annotations in FEFr , Authentic post-publication changes and variants , Annotations in FEJ |
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b. 49-50
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composition: Op. 27 No 2, Nocturne in D♭ major
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The meaning of the slur entered into FES is not clear. One of the possible interpretations is a variant in the form of a run filling the octave leap of the melody. If we take into account the hardly legible sign in bar 50 and perceive it as the digit 8, we may conclude that the run goes up to c4. category imprint: Graphic ambiguousness; Differences between sources issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants |
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b. 51
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composition: Op. 27 No 2, Nocturne in D♭ major
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The grace note in FED definitely indicates the manner to begin a trill. This allows us to read it, despite unclear notation, as a c2. We add a cautionary natural because of c flat1 in the L.H. part. category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants |
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b. 52
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composition: Op. 27 No 2, Nocturne in D♭ major
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The indication con forza occurring in A (→GE>FE→EE) was deleted by Chopin in FEJ and FES, and removed by Franchomme from FEFr. We perceive those actions as the part of the radically altered concept for the dynamics in that part of the Nocturne (see bars 49-50). We also suggest the possibility of taking into account the somewhat unclear entry in FEJ. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FES , Annotations in FEFr , Authentic post-publication changes and variants , Annotations in FEJ |
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