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b. 3-8
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composition: WN 29, Waltz in E minor
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The missing category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 3-5
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composition: WN 29, Waltz in E minor
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The divided slur in the sources almost certainly resulted from a combination of extra-musical factors, e.g. unclear notation of [A] (e.g. due to combining slurs), inaccuracies (e.g. ink stoppage), transition to a new line, etc., since such slurring is contrary to the smoothly unfolding, homogeneous R.H. figuration. Due to the above, in the main text we give one, continuous slur. category imprint: Editorial revisions |
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b. 9-24
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composition: WN 29, Waltz in E minor
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A comparison with the autographs of other Chopinesque Waltzes – except the non-finished ones or intended for bases for first editions – suggests that at least some of the markings present in PE (→GE) were probably added by the reviser of the original edition. As many as almost two-thirds of the autographs do not contain any pedal indications, while in the majority of the remaining ones they are proportionally less numerous than in the sources of the Waltz in E minor. Due to the above, in the main text we omit the markings in bars 17-23, which are a repetition of bars 9-15. category imprint: Editorial revisions issues: Revisions in #PE |
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b. 9
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composition: WN 29, Waltz in E minor
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The missing staccato dots in PE must be an oversight, probably by the engraver – the marks are in all 5 repetitions of this bar. The dots were added in GE, which we include in the main text. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Errors in PE |
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b. 12
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composition: WN 29, Waltz in E minor
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It cannot be ruled out that the source version with a rest on the 3rd beat of the bar is authentic – small differences between the first appearance of a certain detail and its repetitions – cf. bar 20, 44, 52 and 116 – are not uncommon in Chopin's style, cf., e.g. the Scherzo in B category imprint: Editorial revisions issues: Errors in PE |
in 
mark in such a harmonic, dynamic and pianistic context most probably means that the pedal should be held until the very end of the passage, which we specify in the main text with the help of a [
minor, Op. 31, bar 273, 284, 375 and 396 – it is only in the first one that the chord includes a d seventh; the remaining ones contain e. However, the individual presentations of this phrase of the Scherzo differ also in other details, whereas in the Waltz it is practically the only difference between the five occurrences of this eight-bar section. Due to the above, we believe that it was rather a mistake in the interpretation of [A].