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b. 32
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composition: Op. 64 No 2, Waltz in C♯ minor
category imprint: Differences between sources; Corrections & alterations |
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b. 32
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the previous autographs the notation of slurs in the ending of this bar and in the next section of the Waltz is unclear. In As the slur starts in bar 32 (at the end of the line), yet it is missing any continuation. In AI one generally cannot see a slur at the end of bar 32, yet the beginning of the slur in bar 33 can be considered to suggest embracing with it also the last crotchet in bar 32, beginning the phrase. The absence of the slur in EEC is most probably an error. category imprint: Graphic ambiguousness; Differences between sources issues: Errors in EE , Inaccurate slurs in A |
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b. 32
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composition: Op. 64 No 2, Waltz in C♯ minor
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The repetition, which starts after the second beat of this bar, embraces bars 32-48 in AI. In the remaining sources, there is no repetition sign – in As a repetition of these bars is not clearly marked, whereas in A (→FE→GE,EE) it is written out with notes. category imprint: Differences between sources |
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b. 33-34
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composition: Op. 64 No 2, Waltz in C♯ minor
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The slur of AI (slurs?) in bars 33-34 is unclear, as far as its range (does the slur run already from the last crotchet in bar 32 and where does it lead) and continuity (break over the 1st quaver in bar 34) are concerned. According to us, neither the shape nor the range of both parts of the slur indicate an intention of dividing them – the break is most probably a result of a temporary lack of ink. A similar cause could have also provoked abandonment of continuation of the slur. Therefore, we assume that the slur begins in bar 32 and embraces bars 33-34, which may be interpreted as a general signal suggesting performance – its counterpart in a developed notation would have been, e.g., the slur Chopin wrote in analogous bars 49-54 in A. The above observations also apply to bars 48-50. In the remaining bars of this section (bars 35-48 and 51-64) AI does not have any slurs. In As there are no slurs in the entire section (bars 33-64). Both manuscripts are also devoid of dynamic signs and pedalling. category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations issues: Errors in EE , Inaccurate slurs in A |
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b. 33-44
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the main text we reproduce the dynamic hairpin strictly on the basis of A. In FE the signs were generally slightly extended, however, in the first five bars they can be considered to be compatible with A. In turn, the In the previous manuscripts there are no signs of this kind (in the entire Waltz – cf. bar 1), there is also no accent in bar 39. category imprint: Differences between sources; Corrections & alterations issues: Scope of dynamic hairpins |
signs in 
