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Op. 64 No 2, Waltz in C♯ minor

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b. 103-104

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

 in A

No sign in FE (→EE,GE1op,GE1no2)

Longer  in GE2op (→GE3op) & GE2no2
..

The absence of  in FE (→EE,GE1op,GE1no2) is certainly an oversight. The sign was added in later GE, placing its beginning 2 quavers earlier.

category imprint: Differences between sources

issues: Errors in FE , Scope of dynamic hairpins , GE revisions

b. 103

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

Slur from 1st quaver in A, GE & EE

Slur from 2nd quaver in FE
..

The version of FE is probably inaccurate – see bar 39.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 103-120

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

in As, 1st version

in As, 2nd version

in AI & A (→FE→GE,EE)
..

In As bars 103-104 are a repetition of bars 39-40, as a result of which they also have two versions. The same applies to bars 119-120, not written out in As.

category imprint: Differences between sources

b. 103-119

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

f-b in As & AI

Rest in A (→FE→GE,EE)
..

category imprint: Differences between sources

b. 104

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

No accidental in As & A (→FE→EEC) – f2

 in AI – f2

 in GE & EEW1 (→EEW2) – f2
..

Same as in bars 40 and 56, Chopin hesitated whether the last quaver in bars 104 and 120 is to be a f2 or f2 and the final decision is not unambiguous. In the main text, we give the version with f2, written in A (→FE) and made more precise by the way we adopted in our system with a cautionary . The version with f2, as well as the notation without an accidental, leaving a minor margin of uncertainty, can be considered to be equal variants. 

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