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b. 1
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composition: Op. 64 No 1, Waltz in D♭ major
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Chopin dedicated the published Waltz to Countess Delfina Potocka, including an appropriate entry in A (→FE→#EEW; in #EEW her surname was misprinted as "Potacka"). It is unclear why the dedication was overlooked in GE and EEC – in spite of a collective cover for three (in EEC – two) Waltzes, it could have been placed, e.g., on the first page of the note text. In the case of GE, it could have been caused by a possible absence of cover in the proof copy of FE, being the base for GE, since the dedication in FE was placed only on the cover. In the remaining, presentation autographs of the Waltz Chopin did not place any dedicatory notes. category imprint: Differences between sources issues: Dedications |
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b. 1-22
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In GC bars 1-14 are provided with subsequent numbers, used then for an abbreviated indication of bars 55-68. Similarly bars 15-22 are marked with a-h letters, used then for an abbreviated notation of bars 23-30, 69-76 and 77-83. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 1-22
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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Amar, the autograph of a fragment of the middle section of Marche, includes only bars 31-38, therefore, it is included in the notes only in these bars. category imprint: Source & stylistic information issues: Incomplete sources |
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b. 1-2
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composition: Op. 64 No 2, Waltz in C♯ minor
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In As and AI the bass notes in bars 1-2 are written an octave higher than in the version prepared for print (in A one can see traces of corrections from c category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Accompaniment changes , Bass register changes |
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b. 1-32
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composition: Op. 64 No 2, Waltz in C♯ minor
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The previous autographs – As and AI – do not include pedalling indications. See the note on the tempo indication. category imprint: Differences between sources; Corrections & alterations |
& d
major, No. 1, bars 50 and 77.