Issues : Inaccuracies in FE

b. 1-2

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

 in A

 in FE (→EE,GE1no2,GE1opGE2opGE3op)

 in GE2no2

..

Shifting the  hairpin so that it starts from an upbeat, is, according to us, rather an inaccuracy of the engraver of FE, hence, in the main text we give the undoubtedly authentic sign of A. However, since an alternative possibility of Chopin's proofreading in FE cannot be entirely excluded, the version of FE, repeated in all remaining editions except for GE2no2, can be considered to be a potentially authentic variant. In turn, shortening the sign in GE2no2 is undoubtedly a revision, as a part of which the  signs in all analogous bars were unified (bars 1-2, 5-617-18 and 21-22).

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Authentic corrections of FE

b. 1-32

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

..

In A the  asterisks are put either after the 3rd crotchet in the bar (or a corresponding it rest) or before, depending on the fact whether the entire bar is based on the same chord or not. In FE the differentiation was lost – all signs are put either under or slightly after the 3rd crotchet (rest), whereas the differences are not related to the notation of A (or – consequently – to the harmony). The remaining editions reproduce the version of FE more or less accurately, although in GE the signs are generally placed after the 3rd crotchet, while in EE – rather below. In our transcriptions of particular sources, we assume that the asterisks placed in an inaccurate manner – most often slightly after the 3rd crotchet – are considered by us to be compatible with the majority of such signs in a given phrase of a discussed source.

A few particular situations – bars 4, 15, 20, 22, 24, 29, 30 and 31 – are discussed separately.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 3-8

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

Different length  in A

Longer  in FE (→GE,EE)

Shorter  suggested by the editors

..

In the main text we unify the reach of the  hairpins in bars 3-4 and 7-8, following three out of four signs written in A. In FE1 the signs were unified too, however, it was the sign beginning slightly earlier in bar 4 that was adopted as the model.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins

b. 8-25

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

One-bar slurs in AI, A & GE2op (→GE3op)

Two-bar slurs in FE (→EE,GE1op,GE1no2GE2no2)

..

It is not easy to evaluate how the difference between the slurring of sources in bars 8-9 (and similarly in bars 24-25) occurred. A includes two slurs in both places, although for the first time, when bar 8 appears at the end of the text's line, one could consider the slur in bar 9 to be a continuation of the previous. One-bar slurs are also in AI (except for bar 9, devoid of a slur). In this situation, one has to assume that the slurs of FE (→EE,GE1op,GE1no2→#GE2op2), combined in both places, could have been a result of Chopin's intervention. However, without being sure in this respect, in the main text we give the slurring of A, confirmed by AI. The version of FE, with a phrasing combining structural divisions (cf., e.g., the Waltz in A No. 3, bars 40-41), characteristic for Chopin, particularly in later pieces, can be considered to be (perhaps) an authentic variant.

category imprint: Differences between sources

issues: Inaccuracies in FE , GE revisions , Authentic corrections of FE

b. 13

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

 in A (probable interpretation) & GE2no2

 in A, possible interpretation

 in FE (→EEC,GE1no2,GE1opGE2opGE3op)

in EEW

..

The range of the  hairpin written in A is unclear – the top arm seems to be much longer than the bottom one. The respective sign in FE (→EEC, the majority of GE) perhaps corresponds to the range of the bottom arm of the hairpin of A. In the main text, we suggest an averaged range of the sign, which then leads to the topmost note of the melody; a similar length of the sign is also – as a result of revision – in GE2no2. Alternatively, one can take into account the top arm, written probably first – such a longer hairpin determines the peak of crescendo practically at the beginning of the next bar. The lack of continuation of the sign in bar 13 in EEW results almost certainly from the division into great staves – in this edition bar 13 opens a new line.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Inaccuracies in A