b. 173
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composition: Op. 64 No 2, Waltz in C♯ minor
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Similarly as in bars 45-48, in the main text we give the range of the hairpin in bars 173-176 on the basis of A. category imprint: Differences between sources |
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b. 173-174
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composition: Op. 64 No 2, Waltz in C♯ minor
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The discrepancy in the placement of the sign between A and FE is, according to us, a result of a mistake at combining the written out bars with their numerated repetitions – the shorter pedal of FE is compatible with the authentic pedalling in bars 189-190. In the main text, we stick to the version of A. The changes in later GE were introduced most probably by analogy to bars 45-46 and 109-110 (see also bars 189-190). category imprint: Differences between sources issues: Errors in FE , GE revisions |
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b. 173-189
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composition: Op. 64 No 2, Waltz in C♯ minor
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Same as in four previous analogous places, in bar 173 Chopin added an a1 note in the last proofreading of FE (→EE). We consider the absence of a respective addition in bar 189 to be an oversight (of the composer or the engraver), although a possibility of intentionally leaving the last repetition of this phrase in a slightly different form cannot be, obviously, excluded. It was considered to be a mistake already by the reviser of EEW1 (→EEW2). category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE , Omitted correction of an analogous place |
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b. 182-183
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composition: Op. 64 No 2, Waltz in C♯ minor
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Same as in bars 54-55, combining the slurs in GE2no2 is a revision contrary to the Chopin notation. category imprint: Differences between sources issues: GE revisions |
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b. 188
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composition: Op. 64 No 2, Waltz in C♯ minor
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The absence of pedalling in a part of the editions is undoubtedly a consequence of an oversight of the engraver of FE. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |