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Issues : Authentic corrections of GE
b. 66-71
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composition: Op. 64 No 2, Waltz in C♯ minor
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Both source versions of the melody at the transition between bars 66 and 67 and 70 and 71 are almost certainly authentic. In the main text, we give an unequivocally authentic version with repeated e category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , GE revisions , Authentic corrections of GE |
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b. 75-76
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composition: Op. 64 No 2, Waltz in C♯ minor
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The authenticity of the tie sustaining d category imprint: Differences between sources issues: EE revisions , GE revisions , Authentic corrections of GE |
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b. 76-77
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composition: Op. 64 No 2, Waltz in C♯ minor
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Same as in bars 66-67 and 70-71, both source versions of the melody at the transition between the bars are almost certainly authentic. In the main text, we give a version with a repeated d category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Errors in GE , GE revisions , Sign reversal , Authentic corrections of GE |
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b. 91-92
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composition: Op. 64 No 2, Waltz in C♯ minor category imprint: Differences between sources; Corrections & alterations issues: EE revisions , GE revisions , Authentic corrections of GE |
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b. 92-93
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composition: Op. 64 No 2, Waltz in C♯ minor
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Both source versions of the melody at the transition between the bars are almost certainly authentic. In the main text, we give the version with the repetition of the d category imprint: Differences between sources; Corrections & alterations issues: Annotations in teaching copies , Annotations in FED , Authentic corrections of GE |