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b. 148

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

Pedalling in A (→FEEE,GE1op,GE1no2GE2no2)

No pedalling in GE2op (→GE3op)

..

The lack of pedalling in GE2op (→GE3op) is probably a result of a revision unifying bars 132 and 148.

category imprint: Differences between sources

issues: GE revisions

b. 153

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

 in A

No sign in FE (→GE,EE)

..

The absence of the  sign, clearly written in A, is probably a mistake of the engraver of FE (→GE,EE). After a longer fragment marked in A in an abbreviated way, the bar is the first written out entirely, so that it seems to be likely that instead of reproducing the actual notation of this bar, the engraver repeated the notation of bar 25.

category imprint: Differences between sources

issues: Errors in FE

b. 154-158

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

Fingering written into FES

No teaching fingering

..

The five-time use of the 1st finger, marked in FES certainly on the basis of Chopin's hint, is included by us in the main text in bars 26-30 (cf. General Editorial Principlesp. 17).

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 155-156

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

c2 repeated in A (→FEEE,GE1no2,GE1opGE2opGE3op)

c2 tied in FED & GE2no2

..

The tie of c2, written in FED probably by Chopin, may be considered an authentic variant with respect to the repeated note present in all remaining sources (except for GE2no2). Similarly in bars 157-158. 

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED

b. 157-158

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

b1 repeated in As, AI & A (→FEGE,EE)

b1 tied in FED

..

The tie of b1, written in FED perhaps by Chopin, may be considered an authentic variant.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED