Issues : Inaccuracies in FE

b. 16-17

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

Slur from 5th quaver in A (→FEGE1no2,EEW1EEW2)

Slur from 6th quaver in GE1op (→GE2opGE3op) & GE2no2

No slur in EEC

..

An additional slur at the transition between bars 16 and 17 embraces in A the last two quavers in bar 16. In FE (→EE,GE1no2) it was reproduced in a slightly inaccurate manner (the slur begins already after the 5th quaver and it is placed too low), which probably resulted in an erroneous beginning of the slur from the 6th quaver in the remaining GE. The range of the slur in analogous bars 144-145, based on the same notation of A, does not raise any doubts in FE.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE

b. 19

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

g-h in A (probable reading)

d-g-h in As, AI & FE (→GE,EE)

Our variant suggestion

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On the 2nd crotchet in the L.H. A has – in so far as it may be assumed on the basis of the photography available to us – a g-b third. The remaining sources feature here a d-g-b chord. In the version with the third, the link with the previous bar can be considered to be slightly smoother, however, it is not certain whether it is actually in A. Due to this reason, in the main text we leave the inclusion of the d note at the discretion of the performer.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 19-24

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

2 different length  in A

2 longer  in FE (→GE,EE)

4 shorter  suggested by the editors

..

The absence of the  signs in bars 19-20 is to be considered to be rather an inaccuracy of notation – admittedly, Chopin would sometimes omit indications (e.g. pedalling) in fragments that had already appeared with indications, yet the presence of the hairpin in bars 23-24 points to an oversight of the composer. The conclusion is confirmed by the signs added in the proofreading of FE in bars 147-148, based on the same notation of A. The range of the signs in bars 23-24 can also raise certain doubts – particularly the sign in bar 24 is clearly longer than the previous. According to us, it is more likely that Chopin wrote the signs more diligently for the 1st time – see bars 3-8. We also consider that the slightly shorter signs leave more possibilities of interpretation of this motif, whose performance – according to relations of one of the pupils, Wilhelm von Lenz – posed quite a performance challenge: "It was difficult to please Chopin in this Waltz. Only he was able to [correctly] combine the only (!) semiquaver in the third bar with the following crotchet." 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Inaccuracies in FE , Scope of dynamic hairpins

b. 20

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

Pedalling in A

 FE (→EE) & GE2no2

Pedalling in GE1op & GE1no2

No pedalling in GE2op (→GE3op)

..

No pedalling indications in this bar is most probably a result of revision of GE2op (→GE3op), aiming at unifying bar 4 and 20. As far as the placement of the  sign is concerned, it is only the version of A that is authentic, the remaining are most probably a result of a routine interpretation of indications by engravers or simply an inaccuracy in reproducing the base text. 

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions

b. 21-22

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

 in A, EEw1 (→EEW2) & GE2op (→GE3op)

 in FE (→GE1op,GE1no2)

 in EEC & GE2no2

..

The  hairpin was inaccurately reproduced in the editions – already in FE (→GE1op,GE1no2) the sign is clearly shorter, which in the remaining editions was subject to further distortions or revisions. The compatibility of the sign's range in A and GE2op (→GE3op) and EEW is a result of overlapping of arbitrary, yet contrary changes.

category imprint: Differences between sources

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