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b. 3
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composition: WN 55, Waltz in F minor
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The crescendo hairpin in bar 3 is only in FEF and GEF. In all repetitions written out in those two editions, for the 1st and 2nd time, the hairpin in FEF does not reach the last note in the R.H. (like in the miniature), whereas for the 3rd time, its range is identical as in GEF. In turn, FEF features the same range of the hairpin, including the last quaver in the R.H., in all three analogous places. category imprint: Differences between sources |
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b. 4
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composition: WN 55, Waltz in F minor
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In all autographs and copies, there are three quaver grace notes. The grace notes written in semiquavers in F come from Fontana and they are not confirmed by the autographs. category imprint: Differences between sources |
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b. 4
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composition: WN 55, Waltz in F minor
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In AG, the text of the chord on the 2nd beat in the L.H. is ambiguous. Most probably, it lacks in c1, while the dash visible in this place results from "restarting" the pen, which - by analysing the entire autograph - would often leave two thin dashes and a blank space between them instead of a homogenous, full dash. Chopin may have automatically written two dashes in this place, trying to "restart" the pen with quick movements. category imprint: Graphic ambiguousness; Differences between sources |
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b. 4
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composition: WN 55, Waltz in F minor
category imprint: Differences between sources |
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b. 5
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composition: WN 55, Waltz in F minor
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Almost all sources feature two b category imprint: Differences between sources |
-c1-g1 chords. In