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WN 55, Waltz in F minor

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b. 41

composition: WN 55, Waltz in F minor

 
 
 
 
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In three autographs, there is a rest and a d1-e1 second. There is no rest in AE (→CX) and CC, but a doubled d1-e1 second. AG features the version of bar 25, which is then copied by CY - an additional b added to the d1-e1 seconds. The F sources include the same chords as in bar 25. 

category imprint: Differences between sources

b. 42

composition: WN 55, Waltz in F minor

 
 
 
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In AE (CX) and CC, the minim in the bottom voice is devoid of a dot. It is most probably a result of Chopin's oversight (replicated then by the copyists), since the d2-f2 third is written in a layout suggesting a two-part writing - the stems of the minims point upwards and downwards. A similar situation is observed in the other autographs. In analogous bar 26, there are two variants of the R.H.

category imprint: Differences between sources; Editorial revisions

b. 42

composition: WN 55, Waltz in F minor

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In AE (→CX), CY and CC, the chords on the 2nd and 3rd beat in the L.H. are written on the top stave.

category imprint: Source & stylistic information

b. 43

composition: WN 55, Waltz in F minor

 
 
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Moving the bass note an octave down must be Fontana's revision. See bars 7-8.

category imprint: Differences between sources

b. 43

composition: WN 55, Waltz in F minor

 
 
 
 
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In AO, AR and AK, there is a c1-a1 sixth and a leap to an e. In AE, the sixth was enhanced to a full triad with an additional e1. AG repeats bar 27, with a c1-e1 third on the 2nd beat. The version of F, with a doubly repeated e1-a1 fourth, is rather Fontana's revision.

In CC, the elements of the chord on the 2nd beat are written a third lower - we consider it a Terzverschreibung error; in the edition, we suggest the same chord as in AE. 

category imprint: Differences between sources