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WN 55, Waltz in F minor

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b. 33

composition: WN 55, Waltz in F minor

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

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category imprint: Differences between sources

b. 33-35

composition: WN 55, Waltz in F minor

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category imprint: Graphic ambiguousness; Differences between sources

b. 34

composition: WN 55, Waltz in F minor

 
 
 
 
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It is only AR that includes an arpeggio mark next to the g1-e2 sixth. In the F sources, we are dealing with an ornament in the form of a tied g1 grace 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. 

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b. 34

composition: WN 55, Waltz in F minor

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

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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 e1 note (g-b-e1-g1), absent in all manuscripts, which interferes harmonically with the melody in the R.H. The additional e1 most 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 e1 note and give g-b-g1 instead.

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category imprint: Differences between sources