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b. 161-192
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composition: Op. 64 No 2, Waltz in C♯ minor
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In As and AI the presence of these bars does not follow from the notation – the Waltz ends in bar 128. In A only bars 161 and 192 are written out with notes, whereas the first is of a partially marked nature – it is marked with the '1' digit, there is no category imprint: Differences between sources |
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b. 161
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composition: Op. 64 No 2, Waltz in C♯ minor
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The più mosso indication written in A (→FE→EE) suggests that this time the figurative section is to be played faster than the last time (for the first time). This possibility cannot be excluded, yet it seems to be more natural that the section, repeated three times without any changes to the text, is to be played in a generally identical tempo. Since in A the second half of the Waltz (from bar 97) is written in an abbreviated manner, it cannot be excluded that Chopin mechanically repeated in bar 161 the indication from bar 97 (which was necessary there after più lento in bar 65). In this case, the absence of the indication in GE could have been a result of Chopin's proofreading. Therefore, in bar 161 we give più mosso in brackets. category imprint: Interpretations within context; Differences between sources issues: Errors of A |
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b. 161-162
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composition: Op. 64 No 2, Waltz in C♯ minor
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The two-bar slur, written in A in bar 161 (written out) and 162 (empty), is most probably only a signal that in the marked bars 162-191 one has to include the slurring written in the first appearance of this section. Therefore, we limit its range to bar 161 and in bar 162 we repeat the slur from bar 34. This is how the Chopin notation was reproduced in the editions. category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A |
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b. 161-162
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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In GC (→GE) there is a phrase mark instead of a tie to e category imprint: Differences between sources issues: Errors of GC |
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b. 161-162
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composition: Op. 21, Concerto in F minor, Mvt I
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We consider the slurs of A in bar 161 to be original or erroneous; in the main text we replace them with slurs modelled after analogous bars 163, 311 and 313. We interpret the slightly inaccurate slurs in bar 162 in accordance with the scheme used by Chopin in similarly shaped and marked bars 159, 165-168, and particularly 312 and 314. The slurs of GE1 (→FE→EE) in bar 162 are certainly arbitrary. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in GE , Inaccurate slurs in A , GE revisions |
hairpin or pedal and the two-bar slur is almost certainly inaccurate. The slur, or rather the ending of the slur over bars 190-191, is also of this nature.
in the L.H. It is most probably a copyist's mistake (cf. next bar),
