b. 72
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composition: Op. 64 No 3, Waltz in A♭ major
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The unequivocal long accent, introduced in A over the g1 minim, was placed in FE (→GE,EE) between the staves as a hairpin. It is most probably an arbitrary decision of the engraver of FE. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE , Placement of markings |
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b. 72
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composition: Op. 64 No 3, Waltz in A♭ major
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The absence of pedalling in this bar is almost certainly an oversight of the engraver of FE (→GE,EE). category imprint: Differences between sources issues: Errors in FE |
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b. 74
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composition: Op. 64 No 3, Waltz in A♭ major
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In the editions the sign, in A placed under the c minim (it is generally a "very long" accent), was moved between the staves, which hinders its correct interpretation. GE overlooked the sign. category imprint: Differences between sources issues: Long accents , Inaccuracies in FE , Placement of markings |
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b. 75-76
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composition: Op. 64 No 3, Waltz in A♭ major category imprint: Differences between sources issues: EE revisions , Errors in EE , Errors in GE |
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b. 76-77
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composition: Op. 64 No 3, Waltz in A♭ major
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In A the g1 minim is supposed to be repeated in bar 77 – it is not combined with a tie with the previous one; moreover, Chopin provided it with a separate tenuto-slur. The tie, present in FE (→GE,EE), linking it to g1, held from bar 72, could have been added by Chopin. However, according to us, a mistake of the engraver, who could have misinterpreted the non-standard tenuto-slur (it is absent in the editions) or simply mistaken bar 77 with one of the previous ones, is more likely. Therefore, in the main text we stick to the notation of A. The version with a tie of g1 in bar 77 can be considered a variant. category imprint: Differences between sources issues: Errors in FE , Authentic corrections of FE , Tenuto slurs |