Issues : Annotations in FES
b. 45-46
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composition: Op. 27 No 2, Nocturne in D♭ major
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In particular sources, dynamic markings in those bars differ significantly. The version of A reproduced – despite various inaccuracies - in GE (→FE→EE) was later fundamentally changed, which can be seen in energetic deletions and additions in teaching copies and FEFr. category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Inaccuracies in GE , Annotations in FES , Annotations in FEFr , Authentic post-publication changes and variants , Annotations in FEJ |
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b. 45-46
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composition: Op. 27 No 2, Nocturne in D♭ major
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The fingerings are written in ink in Jane Stirling's hand. category imprint: Differences between sources |
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b. 49
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composition: Op. 27 No 2, Nocturne in D♭ major
category imprint: Differences between sources |
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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 |