Issues :
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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 |
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b. 36
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composition: WN 29, Waltz in E minor
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The missing staccato dot under the bass note in the first impressions of PE must be an oversight (in this and the next bar). Relevant marks are present in analogous figures both before (bars 33-35) and after (bar 38). In the main text we add a dot in both places, as it was performed in GE and PE4. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Errors in PE , |
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b. 37
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composition: WN 29, Waltz in E minor
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As in the previous bar, the missing staccato dot in the first impressions of PE must be an oversight. In the main text we add it, as it was performed in GE and PE4. category imprint: Differences between sources; Editorial revisions issues: GE revisions , Errors in PE , |
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b. 54
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composition: WN 29, Waltz in E minor
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In PE1 the treble clef is placed before the 1st L.H. crotchet. The patent mistake was corrected in GE and PE2 (→PE3→PE4). category imprint: Interpretations within context; Differences between sources issues: GE revisions , Errors 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 , |
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.