![](/build/images/logo_left-en.png)
![](/build/images/pl-button.5cab5de0.png)
![](/build/images/pomoc-button.d3d09842.png)
![](/build/images/pomoc-button-en.5098433b.png)
Issues : Authentic corrections of FE
b. 32
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The change of c category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Bass register changes |
|||||||||
b. 39
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
It is not clear how the shift of the beginning of the slur in FE occurred – one may assume Chopin's proofreading, yet an erroneous interpretation of A by the engraver seems to be much more likely, perhaps provoked by the shape of the left ending of the handwritten slur. Starting the slur from the beginning of the bar is supported by the slur beginning in analogous bar 55. A comparison with this bar could have contributed to leaving out the version of FE by GE and EE based on it. Similarly in bars 103 and 167. category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Authentic corrections of FE |
|||||||||
b. 45-61
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The crotchet specifying the sound of the Neapolitan chord in bars 45 and 61 underwent a several-stage-long evolution from As to the corrected version of FE (→EE). Both the content of the chord (dyad) and the moment of its strike was changed. In the main text, we give the latest version, introduced in the last phase of proofreading of FE. The version of As is not unequivocal – we assume that there is no f
The naturals lowering d Similarly in bars 109 and 125, see also bars 173 and 189. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Omission of current key accidentals , Authentic corrections of FE , Last key signature sign , Inaccuracies in A |
|||||||||
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 category imprint: Differences between sources; Source & stylistic information issues: Errors of A , Authentic corrections of FE , Last key signature sign |
|||||||||
b. 65-96
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
In A (→GE), the entire section is written in a four-flat key signature. In the proofreading of FE (→EE), Chopin changed the notation to the one compliant with D Since the difference does not have any impact on the sound of music, and the notation with five flats, more convenient for the reader, was eventually introduced by Chopin, we adopt it as the only one and we do not record differences in notation resulting from the distinct number of flats in the key signature. The original notation of A and GE is conveyed by their versions "transcription". category imprint: Differences between sources; Source & stylistic information issues: Chopin's hesitations , Errors of A , Authentic corrections of FE , Last key signature sign |