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b. 5-6

composition: Op. 35, Sonata in B♭ minor, Mvt II

Two  in GC (→GE)

Two-bar  in FE (→EE)
..

According to us, the most likely explanation for the existing discrepancy between the sources based on [A] is the sometimes used by the engravers identification of two (or more) following  signs with one longer. A possible Chopin's correction in [A], introduced already after preparing GC, which is potentially an alternative explanation, seems to be poorly justified:

  • two  do not exclude a continuous crescendo, therefore, there is no need to combine the signs;
  • only the separate signs show also a dynamic change defining the character of the one-bar repetitive motifs, ended with an accent.

Due to this fact, in the main text we give the source and stylistically unquestionable indications of GC (→GE).

category imprint: Interpretations within context; Differences between sources

issues: FE revisions , Hairpins denoting continuation

b. 5-9

composition: Op. 26 No 1, Polonaise in C♯ minor

..

Both in bars 5 and 9 A does not include the  returning b on the 3rd beat of the bar. This patent inaccuracy was corrected already in FE1. Similarly in bar 34. 

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE

b. 5-6

composition: Op. 64 No 2, Waltz in C♯ minor

 in A & GE3op

No sign in FE (→EEC,EEW1,GE1no2,GE1op→GE2op)

Shorter  in GE2no2 & EEW2
..

The absence of the  hairpin is certainly an oversight of the engraver of FE. The sign was added in GE3op and – in a shortened form – in GE2no2 and EEW2.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 5-6

composition: Op. 64 No 1, Waltz in D♭ major

Minim & quavers in As

Crotchet & quavers in AI

Quavers in AII, AIII & A (→FE→GE,EE)
..

A comparison of the versions of As and AI allows to assume an intermediate stage, in which the melody in these bars already had the form written in AI, yet still without the four-bar introduction without accompaniment. In AI, the introduction, appearing for the first time, has a form of a preview of the actual beginning of the theme, which simply repeats the first three bars. In the final version, the entire "run-up," in which the four-quaver, ostinato figure develops, is moved to the introduction, which consequently organically combines with the theme, without any caesura. 

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 5-9

composition: Op. 64 No 1, Waltz in D♭ major

..

In the early autographs the return of the first section of the Waltz is marked in an abbreviated manner as Dal Segno. Particular manuscripts place this sign (segno) in different places, depending on the version of transition from the middle section:

  • As after 6 bars (of the final version);
  • AI after 8 bars;
  • AII and AIII after 4 bars.

In As, in order to present all written down versions of accompaniment in bars 21-36, in the version "editors" we do not include this manner of notation of the reprise and we write bars 77-108 in extenso.

category imprint: Differences between sources; Editorial revisions; Source & stylistic information