



b. 97-98
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composition: Op. 64 No 3, Waltz in A♭ major
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Sustaining the chord at the transition between the bars is certainly an arbitrary revision of GE2op (→GE3op), introduced by analogy to identical bars 93-94. Both autographs prove that Chopin considered the version of bars 93-94 to be a one-off rhythmic diversification of the four-time repeated scheme. category imprint: Differences between sources issues: GE revisions |
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b. 98
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composition: Op. 64 No 3, Waltz in A♭ major
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In the manuscripts there is no category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors of A |
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b. 99
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composition: Op. 64 No 3, Waltz in A♭ major
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The slur over the pair of chords could have been added by Chopin in the proofreading of FE. In GE1Ab it was moved under the chords, as a result of which it can be considered to be a tie of f1. category imprint: Differences between sources issues: Placement of markings , GE revisions , Authentic corrections of FE |
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b. 100
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composition: Op. 64 No 3, Waltz in A♭ major
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In A there are no accidentals in the part of the R.H. This patent in this context oversight was corrected in FE (→GE,EE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A |
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b. 105-106
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composition: Op. 64 No 3, Waltz in A♭ major
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In the main text, we give the category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE , GE revisions |