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b. 38-54

composition: Op. 64 No 2, Waltz in C♯ minor

in As, 1. version

in As (2. version), AI & A (→FEGE,EE)

..

The ending of bar 38 has two versions in As, out of which the second – differently than in the next bars – became the final version. Similarly in bar 54, which is not written out in As.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 38

composition: Op. 64 No 2, Waltz in C♯ minor

Shorter  in A

Longer  in FE (→GE,EE)

..

The  sign in this bar in A is shorter than in the previous ones, which may be perhaps related simply to a different graphic layout (the quaver beam pointed upwards). In spite of that, in FE (→GE,EE) it was reproduced as a whole-bar sign, which almost certainly is a result of the engraver's distraction.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins

b. 39-56

composition: Op. 64 No 2, Waltz in C♯ minor

in As, 1st version

in As, 2nd version

in AI & A (→FEGE,EE)

..

In As the melodic line in bars 39-40 was written in two versions (cf. bar 38). We adopt the version written earlier as the text of the draft, which clearly differs from the final version. The same applies to bars 55-56, not written in As.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 39-40

composition: Op. 64 No 2, Waltz in C♯ minor

 in A

 in FE

 in GE

 in EEC

 in EEW1 (→EEW2)

..

In the main text we give the  sign written in A. It was reproduced inaccurately already in FE, by moving it one quaver earlier. Minor changes in the range were introduced also in GE and EEW, while in EEC the hairpin was extended on two entire bars.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies

b. 39

composition: Op. 64 No 2, Waltz in C♯ minor

..

EEC overlooked the accent on the 1st quaver of the bar.

category imprint: Differences between sources

issues: Errors in EE