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Op. 64 No 2, Waltz in C♯ minor

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b. 64

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

..

In A Chopin introduced here only a four-flat key signature. He rectified his mistake in the last proofreading of FE (→EE); however, the misleading notation remained without correction in GE. Interestingly enough, AI includes the correct notation,  whereas in As, in spite of the fact that the change of key before the D major section is not marked at all, the absence of flats before most of the g notes and the presence of naturals before g suggests a five-flat key signature.

category imprint: Differences between sources; Source & stylistic information

issues: Errors of A , Authentic corrections of FE , Last key signature sign

b. 64

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

Triad in As & A (→FE→GE,EE)

Sixth in AI
..

In AI the bar is a repetition of bar 48, which means that on the 2nd beat of the bar there is a g-e1 sixth.

category imprint: Differences between sources

b. 64

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

a1 in As & AI

f1 in A (→FE→GE,EE)
..

In As and AI, the last crotchet in bar 64 is an a1, whereas in As it is written at the end of the previous section as a g1. The photocopy of A available to the editors is not very legible in this place; however, it seems to be very likely that Chopin changed there a1 to f1.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: Enharmonic corrections , Main-line changes

b. 64-65

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

Slur from f2 in AI

Slur from anacrusis in A (→FE→GE,EE)
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The slurring of AI is not quite precise, hence the oversight of the slur over the upbeat may be only an inaccuracy of notation. See also the note on the ending of the slur.

category imprint: Differences between sources

b. 64-65

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

Più lento in A (→FE→GE1no2)

Più lento in GE1op (→GE2op→GE3op), EE & GE2no2
..

Chopin added the suggestion to change the tempo – like all other performance marks – in A. Visible crossings-out indicate a change of the original idea; however, on the available photograph, one cannot see what was removed. In the main text, we place the indication in bar 65, in accordance with the notation of A (→FE→GE1no2). Nevertheless, it is highly likely that such a placement was forced by the layout of A – the end of bar 64 is squeezed at the end of the line, whereas on the above staff, there is the final version (f1) of the third beat of the bar, hence writing even a fragment of an indication in that place was impossible. Therefore, it cannot be excluded that moving the beginning of the indication over the 3rd beat of bar 64, introduced in the majority of editions, complies with the composer's intention. 

category imprint: Differences between sources

issues: EE revisions , GE revisions