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Op. 27 No 2, Nocturne in D♭ major

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 33

composition: Op. 27 No 2, Nocturne in D♭ major

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It is clearly visible in A that Chopin changed the last note in the left hand from f to a flat.

category imprint: Corrections & alterations

issues: Corrections in A , Accompaniment changes

b. 34

composition: Op. 27 No 2, Nocturne in D♭ major

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In A there are traces of changing the 3rd semiquaver from a to e and the 5th semiquaver from c sharp1 to a.

category imprint: Corrections & alterations

issues: Corrections in A , Accompaniment changes

b. 60-61

composition: Op. 27 No 2, Nocturne in D♭ major

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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. 63-65

composition: Op. 27 No 2, Nocturne in D♭ major

Sustaining of d flat only in bar 64 in A (→GE)

Sustaining begins in bar 63 in FE (→EE)
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In A (→GE) the sustaining of notes d flat ​with the hand is marked only in bar 64. When proofing FE (→EE), Chopin decided to extend that notation to the 2nd half of bar 63 and the entire bar 65. Cf. bars 67-69.

category imprint: Differences between sources

issues: Accompaniment changes , Authentic corrections of FE

b. 66-69

composition: Op. 27 No 2, Nocturne in D♭ major

No L.H. slurs in A (→GE)

A slur added in  FE (→EE)
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The four-bar slur in the left hand part was added in the proofing of FE (→EE). This is almost certainly one of the elements introduced by Chopin in order to make the notation more precise. 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE