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Op. 27 No 2, Nocturne in D♭ major

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Articulation, Accents, Hairpins

b. 14

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

No hairpins in A (→GE→EE)

Markings added in EE
..

The dynamic markings of EE are definitely added by the person proofing that edition, who supplemented some performance markings on the basis of analogous fragments.

category imprint: Differences between sources

issues: EE revisions

b. 14-15

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

Wedges in A

Dots in GE (→FE→EE)
..

Both the third g flat2-b flat2 on the 6th quaver of bar 14 and the sixth d2-b flat2 at the beginning of the second half of bar 15 were marked with wedges by Chopin in A. In GE (→FE→EE) the engraver only used dots to mark staccato in this Nocturne.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 15

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

 from the 2nd semiquaver in A, FE (?) and EE

 from the 1st semiquaver in GE (→FE ?)
..

The extent of   in A matches the authentic phrasing. In GE the sign begins earlier, which Chopin perhaps corrected in FE (→EE).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Authentic corrections of FE

b. 16

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

 in A

GE (→FE→EE)
..

In our opinion, the hairpins in A are written inaccurately - the sign begins before the notes, suggesting that the crescendo is a continuation from the previous bar, which does not find any musical justification. The sign visible in the editions matches more naturally the beginning of a new four-bar section.

category imprint: Interpretations within context; Differences between sources

b. 16-17

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

Wedges in A

Dots in GE (→FE→EE)
..

In motifs ending on the highest note Chopin furnished those notes with wedges in A. In GE all those signs were interpreted as dots.

category imprint: Differences between sources

issues: Inaccuracies in GE