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Op. 64 No 2, Waltz in C♯ minor

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b. 157-158

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

No slur in A (→FE→GE1op,GE1no2,EEC,EEW1)

Slur in GE2op (→GE3op), GE2no2 & EEW2

Our variant suggestion
..

While writing this place in A for the second time, Chopin overlooked the slur over the part of the L.H. (cf. bars 29-30). According to us, it can be considered an inaccuracy, hence in the main text we suggest to complete the slur. A similar addition was performed in later GE and EE.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 158

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

..

GE2no2 overlooked the pedalling in this bar, perhaps in order to unify this bar with bar 30.

category imprint: Differences between sources

issues: GE revisions

b. 159-160

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

No g1 in A & GE

g1 in FE (→EE)
..

The g1 crotchet, struck in bar 159 and sustained as a minim in bar 160, was added by Chopin in the last proofreading of FE (→EE). This kind of diversification of subsequent appearances of repeating musical ideas belonged to Chopin's favourite composer tricks.
The proofreading also embraced a change of the graphic layout of the text – the 3rd quaver in the R.H. was moved to the upper stave.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 160

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

c in A & GE

C in FE (→EE)
..

Same as in bar 32, Chopin introduced the change of c to C in the last phase of proofreading of FE (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Bass register changes

b. 160

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

No  in A

 under rest in FE (→EE,GE1no2→GE2no2)

 after rest in GE1op (→GE2op→GE3op)
..

The absence of the  sign in A is almost certainly a mistake – in analogous bar 32 a respective sign is written. The addition of a  in FE may be attributed to Chopin's proofreading, although the placement of the sign – under the rest and not after it, as in bar 32 – raises certain doubts, as far as the accuracy of reproducing the composer's intention is concerned. In the main text, we stick to the notation of A in bar 32.

category imprint: Interpretations within context; Differences between sources

issues: Errors of A , Authentic corrections of FE