FE1
Main text
As - Autograph sketch
AI - Autograph Rothschild
A - Autograph
FE - French edition
FE1 - First French edition
FED - Dubois copy
FES - Stirling copy
GE - German Edition
GE1op - First German edition of Op. 64
GE1no2 - First German edition of Waltz No 2
GE2op - Second German edition of Op. 64
GE2no2 - Second German edition of Waltz No 2
GE3op - Corrected impression of GE2op
EE - English Edition
EEC - Earliest English edition
EEW1 - First English edition
EEW2 - Revised impression of EEW1
compare
  b. 19-24

2 different length  in A

2 longer  in FE (→GE,EE)

4 shorter  suggested by the editors

The absence of the  signs in bars 19-20 is to be considered to be rather an inaccuracy of notation – admittedly, Chopin would sometimes omit indications (e.g. pedalling) in fragments that had already appeared with indications, yet the presence of the hairpin in bars 23-24 points to an oversight of the composer. The conclusion is confirmed by the signs added in the proofreading of FE in bars 147-148, based on the same notation of A. The range of the signs in bars 23-24 can also raise certain doubts – particularly the sign in bar 24 is clearly longer than the previous. According to us, it is more likely that Chopin wrote the signs more diligently for the 1st time – see bars 3-8. We also consider that the slightly shorter signs leave more possibilities of interpretation of this motif, whose performance – according to relations of one of the pupils, Wilhelm von Lenz – posed quite a performance challenge: "It was difficult to please Chopin in this Waltz. Only he was able to [correctly] combine the only (!) semiquaver in the third bar with the following crotchet." 

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Inaccuracies in FE, Scope of dynamic hairpins

notation: Articulation, Accents, Hairpins

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