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WN 55, Waltz in F minor

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b. 5

composition: WN 55, Waltz in F minor

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In F, the 1st beat in the L.H. was extended to a dotted minim. 

category imprint: Differences between sources

b. 6

composition: WN 55, Waltz in F minor

 
 
 
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Three variants of the L.H. are possible:
- two crotchets with an F minor triad on the 2nd beat in AO, AK, AG (→CY)
- a tied f on the 1st beat to the value of minim in AE (→CX), CC and F
- a chord on the 2nd beat without c1 in AR

category imprint: Differences between sources

b. 6

composition: WN 55, Waltz in F minor

 
 
 
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Almost all sources feature a crotchet rest on the 3rd beat in the L.H. It is only AK that has an a-c1 third - it repeats two elements of the previous chord. The authenticity of the version of F with the bass moving to A has to be considered dubious - it is most probably Fontana's revision, continued in the subsequent bars of F. 

category imprint: Differences between sources

b. 7

composition: WN 55, Waltz in F minor

 
 
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PE, as the only source, has a different grouping of quavers in the R.H. - it is not confirmed by the preserved autographs.

category imprint: Differences between sources; Editorial revisions

b. 7-8

composition: WN 55, Waltz in F minor

 
 
 
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In F, the lowest voice in the L.H. descends until B1. The stylistic authenticity of such a solution is questionable - it is continued neither in the next phrase nor in the further course of the piece. Enhancing or lowering the bass line was one of Fontana's most frequent interferences in the works by Chopin he edited.

category imprint: Interpretations within context; Differences between sources