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b. 33

composition: WN 55, Waltz in F minor

 
 
..

FEF and GEF include an  dynamic marking. It is most probably Fontana's addition.

category imprint: Differences between sources

b. 33-35

composition: WN 55, Waltz in F minor

category imprint: Graphic ambiguousness; Differences between sources

b. 34

composition: WN 55, Waltz in F minor

 
 
 
 
..

It is only AR that includes an arpeggio mark next to the g1-esixth. In the F sources, we are dealing with an ornament in the form of a tied ggrace note (non-slashed in FC and slashed in PE, FEF and GEF). It most probably results from the intention of writing out the arpeggio and it can be considered a revision of the editor, namely Fontana. 

category imprint: Differences between sources

b. 34

composition: WN 55, Waltz in F minor

..

In AE, AK, AG (→CY) and CC, a natural raising d2 to dis missing, which is obvious in the harmonic context of this bar; we add it in the editorial version. 

category imprint: Editorial revisions

issues: Omission of current key accidentals

b. 34

composition: WN 55, Waltz in F minor

 
 
 
 
..

There are four different variants of the L.H. in the sources:
- a g-b third and then a third enhanced with a g, doubled in an octave, in AO, AE (→CX) and CC
- a doubly repeated g-b third in AR
- d-g-b triads in AK
- g-b thirds with a g doubled in an octave
In this place, PE features a four-note chord with an additional enote (g-b-e1-g1), absent in all manuscripts, which interferes harmonically with the melody in the R.H. The additional emost probably results from an erroneous interpretation of the manuscript or careless correction of the Terzverschreibung error by the engraver. In the edition of PE we remove the enote and give g-b-g1 instead.

category imprint: Differences between sources