Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Shorthand & other
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main


Shorthand & other

b. 17-25

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

..

In As the bars are not written out with notes. Chopin wrote only empty bars, which undoubtedly means repeating bars 1-9.

category imprint: Source & stylistic information

b. 32

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

Repetition in AI (literal script)

No repetition in AI (extended script) & in remaining sources

..

The repetition, which starts after the second beat of this bar, embraces bars 32-48 in AI. In the remaining sources, there is no repetition sign – in As a repetition of these bars is not clearly marked, whereas in A (→FEGE,EE) it is written out with notes.

category imprint: Differences between sources

b. 34

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

..

AI has here a sign (Segno) indicating from which place the Waltz is to be continued after bar 97.

category imprint: Differences between sources

b. 48

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

..

After the 2nd beat of the bar, AI has a repetition sign, ending the repeated, 16-bar section started on the 3rd beat of bar 32. In order to preserve the parallelism of the notation with the main text based on A (→FEGE,EE), we write out the marked repetition with notes (the original notation is available in the version "transcription"). We apply a similar procedure in the case of As, although in the draft the repetition of bars 33-48 is not marked in any generally adopted way. In this respect, the double bar line after bar 48 can be considered a hint, although it can also be a signal to change the key (which is not marked as well). The imposing symmetry in the proportions of the particular sections of the Waltz can also be considered an argument – two similarly built 32-bar sections, the initial C minor and più lento D major find a natural addition in the separating them section, being also 32-bar long.

 

category imprint: Differences between sources

b. 64

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

..

In A Chopin introduced here only a four-flat key signature. He rectified his mistake in the last proofreading of FE (→EE); however, the misleading notation remained without correction in GE. Interestingly enough, AI includes the correct notation,  whereas in As, in spite of the fact that the change of key before the D major section is not marked at all, the absence of flats before most of the g notes and the presence of naturals before g suggests a five-flat key signature.

category imprint: Differences between sources; Source & stylistic information

issues: Errors of A , Authentic corrections of FE , Last key signature sign