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b. 161-192
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composition: Op. 64 No 2, Waltz in C♯ minor
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In As and AI the presence of these bars does not follow from the notation – the Waltz ends in bar 128. In A only bars 161 and 192 are written out with notes, whereas the first is of a partially marked nature – it is marked with the '1' digit, there is no category imprint: Differences between sources |
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b. 161
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composition: Op. 64 No 2, Waltz in C♯ minor
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The più mosso indication written in A (→FE→EE) suggests that this time the figurative section is to be played faster than the last time (for the first time). This possibility cannot be excluded, yet it seems to be more natural that the section, repeated three times without any changes to the text, is to be played in a generally identical tempo. Since in A the second half of the Waltz (from bar 97) is written in an abbreviated manner, it cannot be excluded that Chopin mechanically repeated in bar 161 the indication from bar 97 (which was necessary there after più lento in bar 65). In this case, the absence of the indication in GE could have been a result of Chopin's proofreading. Therefore, in bar 161 we give più mosso in brackets. category imprint: Interpretations within context; Differences between sources issues: Errors of A |
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b. 161-162
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composition: Op. 64 No 2, Waltz in C♯ minor
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The two-bar slur, written in A in bar 161 (written out) and 162 (empty), is most probably only a signal that in the marked bars 162-191 one has to include the slurring written in the first appearance of this section. Therefore, we limit its range to bar 161 and in bar 162 we repeat the slur from bar 34. This is how the Chopin notation was reproduced in the editions. category imprint: Interpretations within context; Differences between sources issues: Inaccurate slurs in A |
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b. 162
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composition: Op. 64 No 2, Waltz in C♯ minor
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The chords on the 2nd and 3rd beats of the bar in FE (→EE,GE1op,GE1no2) is most probably a mistake – see bar 34. The introduction of sixths in later GE is certainly a revision unifying bars 34, 98 and 162, in this case, according to us, giving the correct result. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , GE revisions |
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b. 162-172
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composition: Op. 64 No 2, Waltz in C♯ minor
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Similarly as in bars 33-44 (in the autographs the discussed bars are not written out), we reproduce the range of the category imprint: Differences between sources issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies |
hairpin or pedal and the two-bar slur is almost certainly inaccurate. The slur, or rather the ending of the slur over bars 190-191, is also of this nature.
-e1 in 
