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Issues : Inaccuracies in FE
b. 1-2
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composition: Op. 64 No 2, Waltz in C♯ minor
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Shifting the category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Authentic corrections of FE |
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b. 1-32
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composition: Op. 64 No 2, Waltz in C♯ minor
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In A the 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 |
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b. 3-8
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the main text we unify the reach of the category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins |
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b. 8-25
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composition: Op. 64 No 2, Waltz in C♯ minor
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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 category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions , Authentic corrections of FE |
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b. 13
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composition: Op. 64 No 2, Waltz in C♯ minor
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The range of the category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Inaccuracies in A |