Slurs
|
b. 50-51
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The slur of AI is interrupted in bar 50, same as in bars 33-34, of which bars 49-50 are a repetition, not written out with notes. In A (→FE→GE,EE) the slur runs further on, until the end of bar 54 (in GE2no2 it was arbitrarily combined with the next one and it was led until the end of this section in bar 64). category imprint: Differences between sources |
||||||||
|
b. 54-55
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
In GE2no2 the slurs between bars 54-55 were combined, which is contrary to the notation of A and the remaining editions. Similarly in bars 118-119 and 182-183. category imprint: Differences between sources issues: GE revisions |
||||||||
|
b. 64-65
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The slurring of AI is not quite precise, hence the oversight of the slur over the upbeat may be only an inaccuracy of notation. See also the note on the ending of the slur. category imprint: Differences between sources |
||||||||
|
b. 68-69
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
Both the tie of b category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in FE , Errors in GE , GE revisions |
||||||||
|
b. 68-69
|
composition: Op. 64 No 2, Waltz in C♯ minor
..
The slur of AI reflects the original assumptions underlying the phrasing – it encompasses exactly 4 bars. In A, Chopin encompassed the entire first phrase with a slur, which, however, was not precisely reproduced in FE (→GE1op,GE1no2,EEC), perhaps due to the line of the text ending in bar 68. In subsequent editions, the slur was extended according to the musical sense. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Inaccuracies in FE , GE revisions |
and the phrase mark over the three-note progression of bass in 
