|
b. 63
|
composition: WN 29, Waltz in E minor
..
In the main text we add a cautionary category imprint: Editorial revisions; Source & stylistic information issues: Cautionary accidentals |
||||||||||
|
b. 65-74
|
composition: WN 29, Waltz in E minor
..
In bars 65-71 and 73-74 the sources contain pedal markings. In the main text we omit them, since they were previously marked in analogous bars 57-64. See also bars 75-87. category imprint: Editorial revisions |
||||||||||
|
b. 67
|
composition: WN 29, Waltz in E minor
..
A comparison with all analogous bars (and with all bars provided with such accompaniment) is a convincing argument that the octave present in the sources is almost certainly a mistake by the engraver. Therefore, in the main text we give a single e note, as is the case with the remaining bars. category imprint: Editorial revisions |
||||||||||
|
b. 71
|
composition: WN 29, Waltz in E minor
..
According to us, neither the original notation of PE1 (→GE,PE2) nor the version changed in PE3 (→PE4) – most probably under the influence of similar bar 87 – correspond to the performance envisioned by Chopin. When reading the grace notes suggested in our edition, the fact that they are written down differently ( category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in PE , |
||||||||||
|
b. 75-87
|
composition: WN 29, Waltz in E minor
..
As before, in the main text we omit the pedal markings (present in the sources) that were marked earlier in analogous bars 59-71. category imprint: Editorial revisions |
to g
2. The accidental is present in the sources in an analogous context in bars 79 and 103.
and 
) becomes understandable, since the first one, a1, refers to the notation of the previous bars. Consequently, the bar starts with a broken sixth, which corresponds to the motifs in the preceding bars. A similar figure, performed similarly yet written down differently, can also be found in, e.g. the Waltz in A
, Op. 34 No. 1, bars 28-29.
