b. 5-6
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composition: Op. 64 No 3, Waltz in A♭ major
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Due to accumulating inaccuracies, caused by the transition to a new line – in FE and GE it begins in bar 6 – the slur in GE ends in bar 5, whereas bar 6 is embraced with a new slur (although in GE1op and GE1Ab the slur in bar 6 suggests a continuation). In the main text, we give the unequivocal slurring of A (→FE→EE). category imprint: Differences between sources |
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b. 7-8
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composition: Op. 64 No 3, Waltz in A♭ major
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The hairpin is shifted in FE – contrary to A – to the beginning of the bar. In the editors opinion, this is due to inaccuracy. In GE1op and GE1Ab both and signs were overlooked in these bars, what later versions of GE supplemented. category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE |
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b. 8-24
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composition: Op. 64 No 3, Waltz in A♭ major
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In the main text we omit the cautionary next to d2 in bar 8, present in the sources. Chopin probably feared that b1 at the beginning of the bar may trigger an association with d2. Similarly in bar 24, which in A is marked as a repetition of bar 8. category imprint: Editorial revisions |
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b. 9
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composition: Op. 64 No 3, Waltz in A♭ major
category imprint: Differences between sources issues: Errors in FE |
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b. 10-11
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composition: Op. 64 No 3, Waltz in A♭ major
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The absence of the hairpin is certainly an oversight of the engraver of GE. The hairpin was overlooked in GE1op and GE1Ab in the entire line, embracing bars 6-11. category imprint: Differences between sources issues: Errors in GE |