Issues : Inaccuracies in PE
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b. 18
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composition: WN 29, Waltz in E minor
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A comparison with the remaining 5 analogous places – bar 10, 42, 50, 114 and 122 – reveals that the longer slur in the discussed bar is almost certainly inaccurate. Therefore, in the main text we give a slur only over the group of quavers, as was performed in the other bars. category imprint: Editorial revisions issues: Inaccuracies in PE |
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b. 49-55
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composition: WN 29, Waltz in E minor
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In PE4 the staccato dots in the L.H. part are mostly invisible – it is only the marks in bars 49 and 55 that are visible, out of which it is only the latter that is clear. This adverse effect resulted from the change of printing technique to lithography; it is noticeable in some impressions of other pieces too. We do not consider it a variant. category imprint: Source & stylistic information issues: Inaccuracies in PE |
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b. 71
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composition: WN 29, Waltz in E minor
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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 , |
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b. 96-97
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composition: WN 29, Waltz in E minor
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In PE both bar 96 and bar 120 fall at the end of the page, and on the next page, the curved line that seems to be a tie to b is not continued. We assume that this is the meaning of this curved line, as it was assumed in GE, in which bars 96-97 fall within the line (in bars 120-121 GE repeated the inaccurate version of PE). category imprint: Differences between sources; Editorial revisions; Source & stylistic information issues: Inaccuracies in PE |
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b. 119-120
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composition: WN 29, Waltz in E minor
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The pedalling of PE, with a category imprint: Differences between sources; Editorial revisions issues: GE revisions , Inaccuracies in PE |
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.
in 
