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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

b. 5-28

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

No signs in As, AI, AII & AIII

  in A (→FE→GE,EE
..

All dynamic signs were introduced by Chopin only at the time of preparing the Waltz for publication – they are absent both in As and in the presentation autographs (AI, AII, AIII). In the subsequent notes, we do not discuss the absence of these indications in the aforementioned autographs at all. Similarly in the case of pedalling.

category imprint: Differences between sources; Corrections & alterations

b. 5-28

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

No markings in As, AII & AIII

Pedalling in AI & A (→FE→GE,EE)
..

Among the early autographs, it is only AI that includes a detailed pedalling. In the subsequent notes we do not record the missing indications in As, AII and AIII. Similarly in the case of dynamic signs.

category imprint: Differences between sources; Corrections & alterations

b. 5

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

Crotchet b in GC (→GE)

Quaver in FE

Dotted quaver in EE
..

Adding in FE the b note on the 2nd beat of the bar to the top voice is probably a result of misunderstanding of the notation of [A]. The different value of the b note in bar 59, being a repetition of this bar, not written out with notes in the manuscripts, indicates an inaccuracy of reproduction of the manuscript in this place by the engraver of FE. Unifying the rhythmic values in EE is most probably a revision, supported by a comparison with bar 59. In the main text we give the unquestionable version of GC (→GE).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE

b. 5-22

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

Slur over pair of sixths in AI & A

Two slurs in FE (→EE)

Slur e1-d1 in GE1no2 & GE1op (→GE2op→GE3op)

Slur c2-b1 in GE2no2
..

Both slurs over the pair of minims in bars 5-6 and 21-22 in A are clearly longer than in bars 1-2 and 17-18. Similarly in AI (only in bars 5-6, since Chopin overlooked the slur for the second time), hence these are the slurs we give in the main text. Double slurs in FE are probably a result of Chopin's proofreading – initially, the engraver of FE combined with a slur only the bottom notes of the sixths, which led the composer to add upper slurs (the original state was preserved in the majority of GE). According to us, the correction is occasional and it rather confirms the importance of a slur over the notes than proves a change of the slurring concept. Similarly in bars 133-134 and 149-150.

category imprint: Differences between sources

issues: Placement of markings , GE revisions , Authentic corrections of FE