Issues : Scope of dynamic hairpins
b. 52
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composition: Op. 27 No 2, Nocturne in D♭ major
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Disregarding A, the hairpins in GE (→FE→EE) were stretched to fill all the available space between con forza at the beginning of the bar and the hairpins at the end, surely contrary to Chopin's intention. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |
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b. 54
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composition: Op. 27 No 2, Nocturne in D♭ major
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A long accent from A was interpreted in GE (→FE→EE) as half-bar long hairpins . The comparison with the analogous bar 56 resolves any possible doubts as to the meaning of that sign. category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Scope of dynamic hairpins |
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b. 54
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composition: Op. 27 No 2, Nocturne in D♭ major
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The hairpins in A may be considered slightly too short (which is difficult to notice in practice with the narrowed notation of A). Still. Chopin could not have intended a half-bar mark visible in GE (→FE→EE). category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A |
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b. 58
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composition: Op. 27 No 2, Nocturne in D♭ major
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The mark in A may give rise to certain slight doubts as far as its starting point is concerned. We adopt the simplest solution. In GE (→FE→EE) the mark is visibly longer, which is the regular tendency of the engraver of GE1. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Unclear hairpins in A |
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b. 60
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composition: Op. 27 No 2, Nocturne in D♭ major
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The dynamic hairpins in A are placed in the second half of each passage written in small notes. In GE (→FE→EE) they were lengthened to cover the entire runs with their scope. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins |