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. 97

No sign in A (→FEEE,GE1op,GE1no2)

 in GE2op (→GE3op) & GE2no2

The absence of the  sign in A could be considered an inaccuracy related to the transition to the abbreviated notation from the next bar. In this kind of situations, the notation in the bar that initiates a non-written out section is often of a partially draft nature – cf., e.g., the Polonaise in E minor, Op. 26 No. 2, bar 105. Paradoxically, the more exactly Chopin wrote such a bar, the higher a chance of a misunderstanding, since the engravers would consider the notation to be complete – cf., e.g., the Polonaise in E minor, Op. 26 No. 2, bar 49. However, in this case it is not certain, since the indications in this bar actually seem to be complete – tempo, slur, pedalling. What is more, in the next empty bar, Chopin wrote a hairpin, as if he wanted to emphasise that it is to be considered only from bar 98. In this situation, in the main text we leave the notation of A without any changes, whereas the sign added in later GE may be considered an acceptable addition. 

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources

issues: GE revisions

notation: Articulation, Accents, Hairpins

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