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WN 55, Waltz in F minor

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b. 13-17

composition: WN 55, Waltz in F minor

 
 
 
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In the majority of the autographs and in CX and CC, there is one slur within bars 13-17. The ending of the slur is imprecise: Chopin did not drag it to the b1 on the 1st beat in bar 17, where the music phrase clearly ends, in any of the autographs, leaving it either suspended at the end of bar 16 (AK) or ending it together with the bar line at the transition between bars 16 and 17 (the other autographs). The copyist of CC wrote a similarly ambiguous ending of the slur. It is only CX that includes a slur led to b1. In the editorial version, we lead all slurs to the b1 in bar 17.
AG (→CY) includes three slurs. The last ends in bar 16, whereas the b1 in bar 17 is provided with a wedge or staccato (see the subsequent note). 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

b. 14

composition: WN 55, Waltz in F minor

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In CC, there is no natural next to d2 - it is a patent mistake of the copyist.

category imprint: Differences between sources

b. 14

composition: WN 55, Waltz in F minor

 
 
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In F, there is a version of the L.H. with a tied B in the bottom voice and g-b-e1 triads on the 2nd and 3rd beats, which differs from the autographs. The enhancement of the 2nd and 3rd beats in the L.H. by adding a b to the g-e1 sixth most probably comes from Fontana. 

category imprint: Differences between sources

b. 14

composition: WN 55, Waltz in F minor

 
 
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The diminuendo hairpin is only in the editions (FEF and GEF); it must have been Fontana's revision. 

category imprint: Differences between sources

b. 15

composition: WN 55, Waltz in F minor

 
 
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F has a different ending of the phrase - with a d2 grace note and an ending on the b1 note. The next bar features the same melodic course. The authenticity of the melody seems to be incontestable - a similar phrase is in, e.g. the Sostenuto, WN 53. Therefore, it may be the first redaction of this fragment.

category imprint: Differences between sources